An historical sketch of bookbinding;

AN HISTORICAL SKETCH

OF

BOOKBINDING.

AN HISTORICAL SKETCH

OF

BOOKBINDING

BY

gf T. PRIDEAUX

WITH A CHAPTER ON EARLY STAMPED BINDINGS
BY E. GORDON DUFF.

LONDON

LAWRENCE & BULLEN

16 HENRIETTA STREET, COVENT GARDEN
1893

RICHARD CLAY AND SONS, LIMITED,
LONDON AND BUNGAY.

z.

PREFACE

THE chier part of the present book was written as an
Introduction to the Catalogue of the Exhibition of Bind-
ings, held at the Burlington Fine Arts Club in the
Summer of 1891.

In consequence of the growing interest in Binding it
has been thought that an enlarged reprint of the Intro-
duction might be useful to students, since information
on the subject is only to be found scattered up and
(S down expensive illustrated works, most of which are no
<£, longer obtainable.

In the Appendix will be found a detailed account
of embroidered covers, metal ornaments and book-edge
decoration which Messrs. Cassell have kindly allowed

SANTA BARBARA STATE COLLEOE Lii

vi PREFACE.

me to reprint from their Magazine of Art, as well as
such early English documents relating to the craft
as I have been able to find.

I hope it will be borne in mind that this does not pretend
to be an exhaustive historical treatise, but is intended
solely to help those interested in Binding to take
the first steps towards its study. Having always in
view this one object I have added a chronological
table of the French and English sovereigns, the ex-
planation of a few technical terms, and a Bibliography
of works relating to the subject.

The " end-paper " used for the present volume is a
reproduction of one made at Nuremberg in the
eighteenth century.

I am glad to take this opportunity of acknowledg-
ing the constant kindness of Mr. W. Y. Fletcher,
who has at all times given me every facility for the
examination of Bindings at the British Museum.

S. T. PRIDEAUX.

CONTENTS.

BINDING OF ST. CUTHBERT'S GOSPEL Frontispiece

PAGE

1. HISTORICAL SKETCH OF BOOKBINDING i

2. TABLE OF CONTEMPORANEOUS SOVEREIGNS IN FRANCE

AND ENGLAND 138

3. TECHNICAL TERMS IN ORDINARY USE 139

4. EMBROIDERED BOOK-COVERS 140

5. THE USE OF METAL IN BOUND BOOKS 169

6. BOOK-EDGE DECORATION , . 200

7. EARLY DOCUMENTS RELATING TO THE CRAFT 211

8. BIBLIOGRAPHY OF WORKS RELATING TO BINDING ... 251
INDEX 295

HISTORICAL SKETCH
OF BOOKBINDING.

THE Art of Bookbinding has existed from the time Earliest

bookbinding

when books were first made, but in the earliest times
was little more than a special department of gold-
smiths' work. Valuable books, and the majority of
books were then valuable, were covered with gold or
silver and ornamented with ivory and jewels. But since
some manuscripts could not have been of such notable
value, or their owners rich enough to ornament them in
so costly a manner, a humbler style of binding grew up,
which, employing leather as a suitable and inexpensive
material, laid the foundation of bookbinding proper as
we now understand it.

Few jewelled bindings have come down to our time, jewelled

bindings.

for they were too valuable to escape the cupidity of rulers

2 HISTORICAL SKETCH OF BOOKBINDING.

and the fury of reformers. In England, the spoliation of
the monasteries under Henry VIII., and the wholesale
destruction under Edward VI. of all vestiges of the old
learning, wrought irremediable havoc amongst the fine
libraries, and such rich bindings as might have till then
escaped were swept away under the act " to strip off and
pay into the king's treasury all gold and silver found on
Popish books of devotion." Abroad this destruction
was not quite so wholesale ; in all the more important
libraries and in a few private collections examples are to
be found. Much of the ornamentation was formed of
enamel, and the centre was frequently an ivory plaque,
while the corners were studded with crystals or precious
stones. In very few cases, however, were these ivories
carved for the bindings on which they are found, but
were used like the precious stones as being in themselves
very beautiful and suitable for the purpose of ornamenta-
tion. In many cases, too, we find that the MS. on which
the binding is now placed is not the one for which it was
originally made ; so that although a fair number of these
early bindings are in existence, there are not many which
have come down to our times in an unaltered condition.
Perhaps almost the finest examples in England of the

HISTORICAL SKETCH OF BOOKBINDING. 3

work of two different periods are the covers of the MS. Ashbumham

Gospels.

of the Four Gospels, which belonged from time imme-
morial to the Abbey of Noble Canonesses at Lindau on
the Lake of Constance. In 1803 the convent was dis-
solved, and the MS. shortly afterwards sold, finding its
way into the collection of the Earl of Ashburnham.
The lower cover is the earlier, being of the 8th century.
Though strongly Celtic in design it was made in South
Germany. In the centre is a cross patee with four
figures representing the Saviour, the spaces between the
arms of the cross containing figures of animals. The
corners which have lost their original ornaments are filled
with figures of the four evangelists. The material is
gold or silver gilt ornamented with jewels. The upper
cover was made about 896 in South Germany. In
the centre is a crucifixion ; in the upper divisions made
by the cross two angels, in the lower, figures of the
Virgin and St. John, St. Mary Magdalene, and Mary the
wife of Cleopas. The whole is surrounded by a border
profusely decorated with jewels, which are also used in
profusion over the whole surface and edges.

From a very early time deer-skin and cheveril were
used in the monasteries both for binding the books

4 HISTORICAL SKETCH OF BOOKBINDING.

themselves and for making cases for the costlier bindings.
These cases were soon discarded and are rarely to be
found, though some early Irish "polaires" are still ex-
tant, as for instance the beautiful specimen in the library
of Trinity College, Dublin, which formed the cover
of The Book of Armagh.
St. Cuth- Of actual leather bindings, the most interesting and

bert's Gospel.

noticeable is that on the little volume containing the
Gospel of St. John, taken from the tomb of St. Cuthbert,
which after many wanderings is now in the library
at Stonyhurst. The boards of thin wood are covered
with red leather, and in the centre of the obverse cover
is a raised ornament of Celtic design ; above and below
are small oblong panels filled with interlaced work
executed with a style and coloured with yellow paint.
The reverse cover is worked with a geometrical design
picked out in yellow. As to the date of this binding
there are different opinions, some assigning it to as early
as the loth century, others to the i2th, while a mis-
guided few have gone so far as to call it Elizabethan.
The style of the binding undoubtedly points to the
earliest date, and its excellent preservation and freshness
are no disproof of its antiquity, since such volumes were

HISTORICAL SKETCH OF BOOKBINDING. 5

usually carried in a decorated metal or leather case.
The vellum flyleaves of the book, however, are of MS,
much later than the loth century, and though these may
very well have been added later to prevent the first
and last leaf of the Gospel from being rubbed, they
have caused some doubts as to the very early date
of the binding. We may safely conclude that if the
book was bound as late as the i2th or i3th century
the binding upon it was copied from an earlier one.

By the 1 2th century England was at the head of all English

XII. Cent.

foreign nations as regards binding, and, thanks to the Bindings,
researches of Mr. Weale, can fully substantiate its claim
to that position. London, Winchester, Durham, and a
few other important towns and monasteries had each
their schools of binding, and from the few examples
which have been preserved we can judge of the excellence
of the work. The covers of the books were tooled with
numbers of small dies, and the beauty of the binding
depended as much upon the individual delicacy and
beauty of the stamps as upon their arrangement, which,
though infinitely varied, was very formal.

Durham was especially noteworthy for its style of
binding, and there are still preserved in its Cathedral

6 HISTORICAL SKETCH OF BOOKBINDING.

library a series of books bound for Bishop Pudsey
towards the end of the i2th century, perhaps the finest
monuments of this class of work in existence. The dies
are very various, and represent men, seated and on horse-
back, fabulous animals of various descriptions, and many
formal designs. Much of the ornamentation is formed
of fine interlaced chain work, such as is generally
associated with Venetian binding, while many of the
dies bear the greatest resemblance to those used in
Strasburg in the i$th century.
Early win- The early Winchester work, of which the finest

Chester

bindings. specimen is the cover of the " Winchester Domesday
Book," in the library of the Society of Antiquaries, though
not so elaborate as that of Durham, and without the
interlacing pattern, has dies of equally beautiful execution.
In all these early bindings the main design of the side is
a parallelogram formed by lines of dies, but the centre
is filled up with circles and portions of circles, a style
peculiar to England. This use of a circular ornament
was so common, that some of the dies were cut wider at
the top than the bottom, like the stones in the arch of a
bridge, so that when fitted side by side they would form
circles or parts of circles ; and in the same way many of

HISTORICAL SKETCH OF BOOKBINDING. 7

the oblong dies were curved. The next two centuries
do not seem to have produced much work of importance ;
and the lavish use of dies seems to have decreased.
There is, however, little material of this period left from
which we can judge, but from such of the account books
and fabric rolls as have been preserved we can see that
bookbinding was largely practised, and even the names
of a number of individual binders are known.

The most important foreign bindings of the time were
produced in the Low Countries and in France ;
Germany producing little that is noteworthy, with the
exception of some fine hand-worked leather bindings of
figure subjects or floral patterns. In these the back-
ground is cut away to a slight depth and then diapered
over with a punch, producing a very rich effect. The
Netherlandish binders seem to have taken the lead, and
beside doing beautiful work, introduced many improve-
ments in the art.

The invention of printing in 1454, forms naturally an invention of

Printing.

important epoch in the history of bookbinding. When
books began to be issued in such great numbers it was
necessary that the bindings also should be produced
more rapidly, and though they necessarily lost much of

8 HISTORICAL SKETCH OF BOOKBINDING.

their individuality, they retained in the various countries
a national distinctive style. Bindings after this period
fall into two distinct divisions, trade bindings and private
bindings. It was the custom of the stationer to issue his
books ready bound, having himself obtained them from
the printer in sheets. In the earliest times, the printer was
very often a stationer as well, and in the latter capacity
bound his own books, but the two trades rapidly became
distinct, the binding being done entirely by the sta-
tioners. The rich private collectors continued to have
their books bound in a more sumptuous manner, using
as a rule damask and velvet rather than leather. Many
binders stamped their names upon their bindings either
in full or concealed in a rebus, others stamped their
initials and trade mark ; one at least went so far as to
ornament his books with his own portrait. Amongst the
German more important binders of Germany at this period we

XV. Cent.

bindings. may mention especially John Richenbach, of Geislingen.
His bindings, as a rule of pigskin, bear full inscriptions
stamped upon the sides giving not only his own name as
binder, and the date of the binding, but often the name
of the person for whom the book was bound. These
bindings are dated from 1467 onwards. Johannes

HISTORICAL SKETCH OF BOOKBINDING. 9

Fogel, who used some very delicate stamps, amongst
them a curious, half-length figure playing on a lute,
bound the copy of the Mazarine Bible now in Eton
College library, and also another copy of the same book
sold lately at the Brayton Ives sale in New York.
Anthony Koburger, of Nuremberg, one of the most
important printers and stationers of the i5th century,
bound his books in a very elaborate and distinctive
manner. He gave up the use of small dies, and by
means of large tools covered the side with a handsome
and harmonious design. He also printed the title of the
book in gold upon the top of the obverse cover. It
seems to have been in Germany that half-binding was
first introduced, for we find many specimens of the i5th
century with the wooden boards left without covering
and the back formed of tooled pigskin or leather, the
sides being in some cases fastened to the wooden boards
by thin strips of metal.

Italian bindings have little interest, being as a rule Italian

XV. Cent.

ornamented solely with varieties of plain interlaced bindings,
patterns, probably Saracenic in origin, though not unlike
those found on early English bindings. They have,
however, a few peculiarities in the finishing, amongst

io HISTORICAL SKETCH OF BOOKBINDING.

which we may notice the custom of putting four clasps,
one at top and bottom as well as the two ordinary ones ;
and another, more rarely found, no doubt introduced
after the fall of Constantinople in 1453, and copied from
the bindings of Greek MSS., of running a groove down
the edge of the covers, a peculiarity of Eastern European
binding. This habit of putting a groove on the edges
of the covers of Greek books continued well into the
1 6th century; it occurs in many of the Aldine bindings
and also on some made for Henri II.
invention of The most important event in the history of Nether-

the panel

stamp. landish binding was the invention of the panel stamp
about the middle of the i4th century. By its means the
whole of the side of a small book could be decorated
from one block, and as soon as books of small size
began to issue in large numbers from the printing press
its economic advantages were recognised and it was
universally used in the Low Countries, France and
England. In the Netherlands trade guilds were very
strict, not only the binder's trade mark but his designs
also being protected, and from the archives of these
guilds a good deal can be gathered about the bindings,
and the career of individual binders traced. Among the

HISTORICAL SKETCH OF BOOKBINDING. 11

early bindings are a few curiously produced from metal
stamps of large size which have somewhat the appearance
of the hand-worked productions of the period. The
ornamentation of later Netherlandish binding is generally

formal, the centre panel with spirals of foliage containing Netherland-
ish panels.

birds, beasts or grotesque creatures, while round the edge
runs a motto Or text with not unfrequently the name of
the binder; indeed, these bindings give more explicit
information than those of any other country. Such
examples were produced by Johannes Bollcaert with the
legend "Ob laudem Christi hunc librum recte ligavi
Johannes Bollcaert," another panel has " Exerce studium
quamvis perceperis artem Martinus Vulcanius," a third
" In sudore vultus tui vesceris pane tuo per Petrum
Elsenum." Similar examples were produced by Ludo-
vicus Bloc, by the numerous members of the family of
Gavere, and many others. Two panels bear the names
respectively of Jacobus illuminator, and Jacobus filius
Vincentii illuminatoris. An Antwerp binding has the
inscription " Johannes de Woudix Antwerpie me fecit."
Another, from Ghent, "Joris de Gavere me ligavit in
Gandavo ; omnes sancti angeli, archangeli dei orate pro
nobis." A binding in the Bodleian has this panel on the

12 HISTORICAL SKETCH OF BOOKBINDING.

side, together with another similar in style, with the name
"Johannes Guilibert," and is the only example known of
a binding containing the signed panels of two different
binders. Pictorial panels do not seem to have been so
commonly used as they were in France, but there are
some of extremely good execution. A very beautiful
specimen bears the initials B. K., and has on one side
the Adoration of the Magi and on the other the Annun-
ciation. Another, with the entry into Jerusalem on one
side and the Adoration of the Magi on the other, has the
inscription, "Frater Johannes de Weesalia ob laudem
xpristi et matris ejus librum hunc recte ligavit."
French panel From France we have a very large series of panel

stamps.

stamps, many of great beauty. Jehan Norins uses two
large panels, one containing the vision of the Emperor
Augustus (Ara coeli), and having his initials at the base,
the other with St. Bernard, and a border containing the
Sibyls. This binding has been many times reproduced,
but the initials J. N. have always been misread I. H.
Norins used also a small panel with a formal acorn
pattern containing the name in full. Alexandre Alyat,
a Paris stationer, about 1500, used a large stamp with a
figure of Christ and the emblems of the Passion. Andre

HISTORICAL SKETCH OF BOOKBINDING. 13

Boule, Edmund Bayeux, Guillaume Baudart, and
Hemon Lefevre used panels depicting the martyrdom of
St. Sebastian ; Jehan Dupin, J. G., and others, a panel

/

with four saints ; P. Gerard, a representation of the
Crucifixion ; I. L., the Mass of St. Gregory. The num-
ber of the French panel stamps, however, is so large that
it is impossible to attempt to enumerate them in a small
space. The binders of Rouen and Caen produced Norman

binders.

bindings most nearly resembling English work, owing, no
doubt, to their intimate business relations with this
country. As they produced English service books in
large numbers, they would probably bind them for the
English market, so that it is quite probable that even
many of the bindings with representative English devices
upon them may have been produced in Normandy. A
binding in the University Library, Cambridge, with the
initials A. R., bears the shields of London and St. George,
but was almost certainly produced abroad. Among the
Rouen binders we may specially note J. Richard ; J.
Huvin, whose panels contain figures of St. Michael and
St. Nicholas ; Jean Moulin, who used panels with a pun-
ning allusion to his name representing a miller ; R. Mace',
who used, among others, a panel with the Annunciation ;

14 HISTORICAL SKETCH OF BOOKBINDING.

and Denis Roce, whose bindings contain figures of four
saints. All these binders, except the last, placed their
names in full upon their bindings.
English The introduction of the art of printing into England,

XV. Ocnt.

bindings, and the consequent influx of foreign craftsmen, materially
changed the character of English binding and destroyed its
distinctive style. The old customs lingered for a while, as
we see from the Oxford bindings of the time, and in some
cases the old dies were still used ; but when the foreign
printers (and they were, as a rule, their own binders) so
far out-numbered the English, it was but natural that
foreign styles should conquer. William Caxton, our
first printer, when he returned to England from Bruges
in 1477, no doubt brought his binding tools with him,
and used them in the style which he had learnt abroad.
His bindings, always of leather, were ruled with diagonal
lines, and the diamond-shaped compartments thus
formed were ornamented with stamps of flowers and
fabulous animals. The border of the panels was
generally formed of triangular stamps of dragons.
Caxton's stamps passed, after his death in 1491,
into the hands of his successor Wynkyn de Worde,
who used them until the beginning of the i6th

HISTORICAL SKETCH OF BOOKBINDING. 15

century, when they seem to have fallen into other
hands, and some at any rate were used by the stationer
Henry Jacobi.

The early Oxford press was carried on by Theodore Oxford

XV. Cent.

Rood, of Cologne, in partnership with Thomas Hunte, bindings.
an English stationer, and their bindings exhibit an
interesting combination of the two national styles. The
stamps, evidently of foreign design, were, no doubt, sup-
plied by Rood ; but their disposition upon the binding is
in the old English style. On some examples we find
the dies disposed in large circles or portions of circles,
a peculiarity of early English work, and one which gave
such a distinctive character to the 1 2th century bindings
of Durham and Winchester. Oxford bindings of this
period are very easily distinguishable from others, nor
are they at all uncommon, for the demand for books in
Oxford must have been very large. Lettou and Machlinia,
the first London printers, were also binders of books, but
as only two bindings can at present be safely assigned to
them, there are but slight grounds for forming any
opinion upon their style of work. There are of course
numberless bindings belonging to the end of the 1 5th
century, which from their workmanship and ornamenta-

16 HISTORICAL SKETCH OF BOOKBINDING.

tion can safely be put down as English, but which can-
not be ascribed to any particular binder or town.
English It is impossible to determine at what date the panel

panel-
stamps, stamp was introduced into England, and there are few early

examples that can with any certainty be assigned to the
1 5th century. The earliest example perhaps is to be found
on a loose binding in the library of Westminster Abbey.
The sides are tooled at the edges with small tools, and
in the centre is a twice-repeated stamp with the arms
presumably of Edward IV. This binding has, however,
no binder's mark.

Frederic Egmondt and Nicolas Lecompte, stationers,
who came to England as early as 1493, used panels
bearing their initials and marks. Lecompte's binding is
evidently of foreign design, and ornamented simply with
an arabesque floral pattern. Egmondt's has more
variety. His most elaborate panel, which bears his
name in full at the base, represents a wild man and
woman standing on either side of a tree covered with
some kind of fruit, and bearing in one hand flowering
boughs,, while with the other they assist in supporting a
shield bearing Egmondt's mark and initials, suspended
by a belt from the branches above them. Besides this

HISTORICAL SKETCH OF BOOKBINDING. 17

he used a small panel with a Tudor rose and vine leaves,
surrounded by a border of leaves and flowers, and
bearing his mark and initials.

A similar design was used by Richard Pynson, and is pynson,

1493-1528.
found in conjunction with a panel bearing his arms and

supporters as well as his trade-mark. Herbert ^speaks of
bindings by Pynson with his mark on one side and a lull-
length portrait of a king on the other, but such a binding
is not at present known. To Wynkyn de Worde no w.deWordc

'493-I534-

panel can with safety be assigned. He used at first
Caxton's dies with a few additions, notably a large die or
small stamp with the Royal Arms. At a later date his
bindings were executed probably by Netherlandish
binders working in England, who would use their own
stamps. Among the witnesses to his will we find the
name of J. Gaver, who was probably one of the large
family of Gavere, binders in the Low Countries. There
is a binding in the library of St. John's College, Oxford,
Netherlandish in ornament but English in workmanship,
with the initials I. G., which might possibly have been
executed by him. De Worde also mentions in his will
Alard, a bookbinder, and Nowel, the bookbinder in Shoe
Lane ; but none of their work has been identified.

1 8 HISTORICAL SKETCH OF BOOKBINDING.
English About the beginning of the i6th century two panels

heraldic . , . _ , i_ • j

panels. came very much into favour with the London binders ;
one containing the arms of France and England quartered
on a shield and supported by the dragon and greyhound,
supporters which were discarded in 1528; the other
having in the centre the Tudor rose supported by angels.
Round the rose run two ribbons bearing the motto —

' ' Haec rosa virtutis de celo missa sereno.
Eternum florens regia sceptra feret. "

A fond belief, strongly encouraged by booksellers,
has grown up amongst collectors that such books once
formed part of the library of Henry VIII., a theory which
only ignorance can recommend. It would be as rational
to imagine that all shops which have over their door the
Royal Arms were residences of the Queen. Why such
designs were so popular with binders is unknown ; but it
is not improbable that they represent some privilege or
are the signs of some guild. In the upper corners of
these panels are the sun and moon, and shields with the
cross of St. George and the arms of London, while in the
base we find as a rule the initials and mark of the binder.
Amongst others who used these panels we may specially

HISTORICAL SKETCH OF BOOKBINDING. 19

mention Julian Notary, the famous printer, who had two
varieties, and Henry Jacobi, an early London stationer,
who had three.

Variations of the Royal Arms were used by H. N.,
who, not being a citizen, omitted the arms of London
from his panels, and by G. G., who discarded the
proper supporters of the Royal Arms and put two angels
in their places. E. G., A. H., R. O., R. L., G. R., M. D.,
and John Reynes, all used the Royal Arms in one form
or another, and besides these there are some large
unsigned panels bearing the arms of Henry VIII.
quartered with those of Catherine of Aragon or Anne
Boleyn.

Pictorial panels do not seem to have been so popular Pictorial

panels.

in England as they were abroad, and many of those we
find in use were probably of foreign manufacture. Two
elaborate early examples depicting St. Michael and St.
George, with a binder's mark of a head upon a shield,
and another of St. George signed L. W., are most probably
of English work, though it is impossible to be certain, as
the binders of Rouen and Caen produced work in the
same style. Another beautiful binding of doubtful
nationality has on one side St. Barbara with her palm

20 HISTORICAL SKETCH OF BOOKBINDING.

branch and three-windowed tower, and on the other the
Mass of St. Gregory. It is worth noticing as a distinc-
tion between English and foreign bindings that the small
books bound in England have as a rule three bands on
the back, foreign ones having four or five. This rule
however has often exceptions, especially in the case of
Norman work, and can only be taken as evidence in con-
nection with other and weightier facts. I. R., whose
stamps fell at a later date into the hands of John Reynes
and were used with his own, had two designs — one of
St. George slaying the dragon, and another of the
Baptism of Christ. The Annunciation was a favourite
subject, and we find many varieties of it, the most
elaborate being one with the initials A. R. of very
foreign appearance, but with the shields of St. George
and the City of London in the borders. Nicholas
Speryng, the Cambridge binder, A. H., and L. P. had
similar panels ; and there are many more without initials
or mark. ' Henry Jacobi had a panel with " Our Lady of
Pity ; " A. R., the Annunciation and Baptism of Christ ;
G. R., a panel with four saints, similar to many French
bindings of the period, and surrounded by the motto
" Quidquid agas prudenter agas et respice finem : O mater

HISTORICAL SKETCH OF BOOKBINDING. 21

dei memento mei ; " also a similar panel, rather smaller
and without the motto. The best known of these bind-
ings is one produced by John Reynes, copied from a cut
in a French Book of Hours, representing the emblems of
the Passion arranged heraldically upon a shield with
supporters, and inscribed below " Redemptoris Mundi
Arma."

There are a few late foreign bindings worthy of notice. Later foreign

bindings.

A binder whose initials were I. P., and who was asso-
ciated with the Augustinian Priory of St. Martin and
St. Gregory at Louvain, had several stamps. His finest,
remarkable for the beauty and delicacy of its design, has
a figure of the dying Cleopatra with a variety of arabesque
work, a small medallion portrait in the centre, and the
motto " Ingenium volens nihil non." Another panel
bears a figure of Hope with a verse from the Psalms, and
seems to have been used by another binder, I. B., examples
sometimes occurring with these initials. He had also a
panel with a figure of Lucretia stabbing herself, and in
the border we find the engraved date 1534. It contains
also the binder's mark, his motto, and the monogram of
the Augustinian monastery. A fourth binding is entirely
unlike any other stamped binding of the time. The

22 HISTORICAL SKETCH OF BOOKBINDING.

panel is filled with a frame of elaborate interlacing rope-
work, and has in the centre a shield with the binder's
mark and initials : it has also the engraved date 1540.
A curious Low Countries binding of about the same date
has a representation of the death of Abel.
Cambridge In England about this time a panel came into fashion

bindings.

ornamented with medallion heads, which was used by John
Reynes, Godfrey, N. S. (Nicholas Singleton?), M. D.,
T. P., G. P., and others. It has little beauty to recom-
mend it, being in a poor debased Renaissance style, and
is the last production of English work of this class.

From the Cambridge stationers we have a most inter-
esting series of bindings. Nicholas Speryng, coming
probably from Antwerp, used two panels. On one is the
Annunciation with his mark and initials ; on the other, in
allusion to his Christian name, the favourite design of
St. Nicholas restoring to life the three pickled children,
with the name in full, and incorrectly printed Nicholas
Spiernick. Besides these panels he had at least three
rolls and an oblong stamp, all bearing his initials and
mark ; Garrat Godfrey, his fellow stationer perhaps
identical with Gerard van Graten, having rolls similar in
design. On a book in the library of Westminster Abbey

HISTORICAL SKETCH OF BOOKBINDING. 23

we find the rolls of both, one being used to obliterate the
other. John Lair de Siberch, the first Cambridge printer,
used a broad roll with his initials, which fell later on into
the hands probably of Speryng, who, erasing the I, sub-
stituted his own initial N. It is worth noticing that the
Cambridge binders frequently made use of leather stained
a dull red, a peculiarity rarely found in other English
bindings.

The introduction of the roll was rendered necessary introduction

of the roll.

by the impossibility of decorating folio books with the
panel stamp. At first the borders round large books
were formed from small dies placed end to end, and later
on from oblong stamps used in the same way ; but this
system was too laborious not to be soon superseded,
and the roll took its place. With the invention of this
pernicious tool the rapid decline of stamped binding
commenced. At first these rolls were of fine broad
work, and produced a handsome effect. An excellent
specimen was used at Paris by Claude Chevallon con.
taining a rebus on his name. In England the various
royal emblems in compartments often formed the subject,
as in the beautiful roll used by Siberch ; while a roll
with flowers and fabulous animals was still more common,

24 HISTORICAL SKETCH OF BOOKBINDING.

a very fine example being used by John Reynes. At a later
period these rolls became narrower and the ornament
more formal, and are hardly distinguishable from foreign
work of the same period. Singleton the printer used
one of these rolls with his mark and initials. On nearly
all small initials may be found, but it is not improbable
that at this late date they are those of the engraver of
the tool rather than of the binder who used it. The
last and worst state of roll binding was reached about
the beginning of the i7th century, when the design,
instead of being struck from a roll cut as an intaglio,
and appearing raised, was struck from a tool cut en
cama'ieu and appeared indented. Abroad, during the
latter part of the i6th century, stamped binding sur-
vived only in Germany, but the bold character of the
early work was gone. In spite of the beauty of the design
and the excellence of the execution, the sides present
a meagre and unsatisfactory appearance, due partly to the
great delicacy and consequent want of depth in the tools,
and partly to the use of pigskin and parchment in place
Later of leather. The designs, though fine, were over-elaborated,

German

bindings, and the wealth of detail was wasted on a leather too
hard to receive it. The centre panels of these bindings,

HISTORICAL SKETCH OF BOOKBINDING. 25

often designed by the greatest artists, contain as a rule
portraits of celebrated people, ancient and modern,
depicted in a very German manner. Lucretia, with puffed
sleeves and a feathered hat, stabs herself elegantly
between the ribbons which tie her ornamental bodice ;
Judith, fashionably attired in a similar style, holds the
fiercely mustachioed -head of Holofernes ; " Justice," not
unlike Queen Elizabeth, with her hair in an embroidered
net, stands gazing open-eyed upon a very unbalanced
pair of scales which she holds in her hand. Other panels
contain portraits of such modern celebrities as Martin
Luther, Melanchthon, Calvin, or the reigning sovereign.
The borders contain coats of arms and small medallion
heads. These bindings bear, as a rule, the name or ini-
tials of the binder, often that of the designer as well, and
in many cases are dated. However good their execution
may be, they bear unmistakable signs of the decadence
of stamped work, which, so far as producing anything
artistic is concerned, now died out absolutely.

GILT BINDINGS.

IN the following historical sketch of gold tooled bind-
ings an attempt is made to give such an account as will
enable the student to trace the development of the art
through successive epochs and in different countries.
It is for this reason that some pains have been taken to
describe the ornament characteristic of the different styles
and periods.

As the art is especially a French art, the history of it
cannot fail to be in the main a history of French binding,
and it has therefore seemed best to make its progress in
that country the groundwork of the present sketch, sup-
plying collaterally such details of its contemporaneous
development in England and elsewhere as may be neces-
sary. Moreover, as the Kings of France from the time
of Louis XII. to that of Louis XV. were patrons of
binding, and the books from their royal libraries offer the

HISTORICAL SKETCH OF BOOKBINDING. 27

most valuable material for its study, it seems most con-
venient to treat the subject according to their reigns,
at all events during the important period of the
Renaissance.

We shall consider the subject as it falls naturally
into three main periods : the first from 1494, when
Aldus Manutius set up his printing press at Venice, to the
end of the i6th century. This was the period of Maioli
and Grolier, of the royal bindings done for Francis I.
and Henri II. The art attained almost at once its
highest perfection, at all events from the point of view
of design. Secondly, the i7th century, with which are
associated the names of the Eves and Le Gascon.
Thirdly, the i8th century, the time of Boyet, Duseuil,
Antoine-Michel Padeloup and the Deromes, in France,
and of the Harleian style and Roger Payne in Eng-
land. Any division must necessarily be somewhat
arbitrary, but it happens that in this case the centuries
correspond pretty definitely to the different types of the
art at different periods of its development.

CHAPTER I.

Italian bind- IT was in Italy that, as far as Europe is concerned,

ings during

the i6th and artistic tooled binding had its rise, and it was the intro-

17th cen-

duction of Arabian art by means of Venetian commerce
that gave the initiative. The ornamentation of early
Italian binding is largely derived from that of Persian
and Arabian MSS. One style, particularly known as
"Venetian " " Venetian," was obtained directly from the East, and is

bindings.

most familiar to us now on the outside of Persian books.
The board was coated with a sort of paper composition,
the centre and corners then cut or stamped out in panels,
and the whole, both of the recessed tablets and the upper
ground, covered with a thinly-pared leather. This was
next coated with a coloured lacquer, and finally decorated
and painted with arabesques in gold.

Mosaics. The painted mosaics so prevalent in France during

the best period came from Italy. Geometrical interlac-

HISTORICAL SKETCH OF BOOKBINDING. 29

ings were filled in with a sort of coloured and varnished
incrustation, and then bordered in gold lines. Very bril-
liant when first finished, the composition in time cracked
and peeled off, thus injuring the gold line work that
encircled it. Mosaics of inlaid leather, extremely rare,
though not unknown, in the i6th century, acquired a
partial vogue in the lyth, and in the i8th the incrusta-
tion method had entirely disappeared.

Cameo bindings also originated and were prevalent in Cameo bind-
ings.
Italy during the early part of the i6th century. These

had centre pieces of designs in relief taken from antique
gems and medals. They must be distinguished from
the imitations which became popular in France for a
short time. The real were made of some sort of
lacquered paste put on to the leather, and of this sort is
the oval stamp on the books of Canevari ; the imita-
tions obtained the relief by stamping the leather, and
of this kind are those bearing the medallion portrait of
Henri II.

It is not exactly known when gold tooling was first used introduction

of gold.

on bindings in Italy, though it is said that there were beau-
tiful 1 3th century specimens done in Syria. It was probably
introduced during the last quarter of the i5th century,

30 HISTORICAL SKETCH OF BOOKBINDING.

and the practice no doubt came from the Saracens.
The European foster-mother of the art was Venice, and
its adoption is probably to be assigned to Aldus at his
own press there, after 1494, although there are occasional
earlier instances. From this period at all events dates
the decoration of binding by means of small tools, curves
and lines used in combination, as distinguished from the
stamped blind work characteristic of the preceding period
in England, and prevalent much later in other countries,
especially in Germany. Those tools bear witness to the
influence that Eastern — and especially Arabian — art had
over Venice. It is thought that her commercial rela-
tions with the Levant attracted a large number of Greek
and Arab workmen, who brought with them their art
traditions, and some of whom were undoubtedly em-
Aldus, 1494. ployed by Aldus at his press. Others, again, consider
that much of the Eastern character in the Aldine bind-
ings, such as the corded and dotted borders, is due to
Aldus and others copying the bindings of the manuscripts
introduced in such numbers into Italy after the fall of
Constantinople, when the revival of learning took place.
There is in the MS. Department of the British Museum
a folio Virgil of the last quarter of the i5th century, the

HISTORICAL SKETCH OF BOOKBINDING. 3*

sides of which are very interesting specimens of Italian
binding under the direct influence of the East. It is in
brown calf, and has in the centre panel a circular orna-
ment and corners. These are entirely Oriental in design,
and Arabic letters signifying " The kingdom is God's "
form part of the decoration. The corners are segments of
the same circular ornament. The design is produced by a
very fine matting of the ground with a small point, and is
finely outlined in gold. This panel is surrounded by
blind lines, and then a fine interlaced cable pattern partly
in blind and partly in gold. The patterns of this kind
without gold are older than Aldus, and were used at
Venice from about 1470. The earliest books that Aldus
issued have a gold stamp ; then followed blind or gold
parallel lines with corner ornaments, from 1500 — 1510,
sober in style, and among the best early bindings to be
found ; and lastly, those elaborate geometrical patterns
with which the name of Grolier is associated. He
met Grolier in 1512, and the interlaced patterns begin
about 1520. The leather he used was a smooth skin,
generally olive in colour. He was the first to disuse
wooden boards. The earliest Aldine tools were solid,
similar, indeed, to those used in the printing press, and

32 HISTORICAL SKETCH OF BOOKBINDING.

Saracenic in character. Maioli had them modified for
his bindings by using them hollow, that is to say only
in outline, and Grolier, finding them heavy, had them
altered for his use to the same ornament barred, or azured
as it is called, from the colour blue in heraldry being
represented in this manner. The azured tools were first
used by Grolier for the bindings done in France, between
1530 and 1540; no azured tools are found on French
bindings before that date. Such few Italian examples as
are seen were probably imitated from French bindings.
Maioli. The bindings of Maioli, are, roughly speaking, contem-
porary with those of Grolier, no known specimen being
earlier than 1530. Tommaso Maioli was an Italian
bibliophile still living in 1549. His uncle, Michele
Maioli, a scientific writer, was also a collector, but no
books bound for Michele are known. Tommaso had
an extensive library of well-bound and ornamented
books, some of which passed by exchange into the col-
lection of Grolier.

As the designs on the books of both collectors are
somewhat similar in character, and as Grolier's early
books were of Italian workmanship, it may be well here
to point out some differentiating features. Maioli designs

HISTORICAL SKETCH OF BOOKBINDING. 33

are distinguished for their flowing scroll-work, the grace-
ful curves of which interlace freely with the framework.
The framework, which is less the design than the scroll-
work, is made up of curves rather than of geometrical
figures. The ornaments are moresque in character,
mostly in outline, though occasionally azured, and part of Maioii and

Grolier.

the field is often enriched with dots. The designs have
certainly more artistic merit than Grolier's on account of
the perfection of their scroll-work. On one side of the
book is generally to be found the motto, " THO. MAIOLI
ET AMICORUM," and on the other " INIMICI MEI MEA

MIHI NON ME MIHI," Or else " INGRATIS SERV1RE

NEPHAS." On one book is found " PORTIO MEA DOMINE
SIT IN TERRA viVENTiUM," and on those not bound for
him he had a monogram composed of the letters
A.E.H.I.L.M.O.P.S.T., which form his name, though
this does not explain the E H and P. On the books
bound for Grolier the interlaced framework is the design
itself. Instead of flowing curved lines we have a geome-
trical composition of interlaced straight lines and semi-
circles. The ornaments are similar in character to those
on Maioli's books, but azured and differently placed ;
they do not blend with the scroll-work but are put in

D

34 HISTORICAL SKETCH OF BOOKBINDING.

spaces without regard to the perfection of curve seen in
the best Maioli designs. Sometimes a mosaic effect is
produced by an incrustation of different colours on the
band spaces between the lines. On some of the plainer
books bound for Maioli, gold leaf has been rubbed into
the leather, so that the effect left is that of a bloom or
fine dust, very pleasing to the eye. There are also some
very fine simple ones with a plain border and the name
in a panel or tablet.

Some think the only difference in the books bound for
the two collectors lies in the fact that Maioli always
preserved his florid Italian style, while Grolier's taste
became more severe in France, where he abandoned
his earlier style learnt in Italy.

To the patronage of the Medici family is largely due
the success of binding in Italy. Piero de Medici col-
lected MSS. distinguished for their miniatures and
decoration, and had them marked with the fleur de lys ;
Lorenzo had his books stamped with his arms, a laurel
branch and the motto " SEMPER." The collections of
Cardinals Scipione Lancellotti and Bonelli were hardly
less celebrated, and Canevari, physician to either Urban
the VII. or Urban the VIII. (or possibly to both),

HISTORICAL SKETCH OF BOOKBINDING. 35

about the year 1590 had his books stamped with a design
that has rendered them famous. The names of the Orsini,
the d'Este, and the della Rovere together with those of
Popes and Cardinals are to be found as collectors of fine
books, bindings from whose libraries are of rare value.

Italy had no permanent school of binding, and though
the artistic inspiration came from her, it was in France
that it took root as a fine art. Practically, in fact, the
originality of Italian binding ceased to exist after the
first half of the i6th century. It is to France that we
must now pass to watch the rapid progress of the art
towards perfection. The fifty years of the reigns of
Francis I. and Henri II. are the richest of all in designs
for fine bindings, and contain, besides the French work
done for those two monarchs, the bindings done else-
where for Maioli, Grolier, Canevari, and Marc Lauwrin,
though which Lauwrin it was for whom bindings were
done is not known.

Royal bindings of the i5th century in France are French bind-
ing during

not numerous. Of extreme rarity are the bindings of the isth and

i6th cen-

Charles VIII., and not much more numerous those of turies-
Louis XII. Louis was the first who had his motto and
device stamped on his books. Before his marriage with

36 HISTORICAL SKETCH OF BOOKBINDING.
Anne of Brittany, we find a semis of bees, and the

mottO "NON UTITUR ACULEO REGINA GUI PAREMUS.''

After his marriage we have sometimes only the
Louis XIL, monogram L.A., with or without a crown, or the arms

1498-1515.

of France alternating with the ermine of Brittany, and
the hedgehog that was also his emblem, with the motto
" COMINUS ET EMINUS." Louis was a great collector of
books ; after the conquest of Milan he annexed part
of the libraries of the Visconti and the Sforza, and
he also bought the collection of the Flemish amateur,
Louis de la Gruthuyse. All these books he sent to his
library at Blois, whence they were subsequently re-
moved by Francis I. to Fontainebleau. The Bibliotheque
Nationale and the Bibliotheque Mazarine each possess
one specimen.

Grolier's library, in respect of size and selection, was
so much the finest of the time, and his name is so
inseparably connected with the finest period of binding,

jeanGroiier, that a brief account of it is necessary. Born at Lyons,
1479-1565.

in 1479, of a family that came from Verona, he replaced

his father, in 1510, as Treasurer of the Duchy of
Milan under Louis XII. In 1512, he made the
acquaintance of the elder Aldus whose press he

HISTORICAL SKETCH OF BOOKBINDING. 37

patronised during the remainder of his life. In 1529
he was sent by Francis I. as Ambassador to Pope
Clement VII. Many books from the Aldine Press were
dedicated to him in terms that show he aided Aldus and
his family with money, and copies de luxe of all books
issued by them were reserved for his library. In 1545
he became Treasurer of France, and in 1547 Finance
Minister, both of which functions he kept till his death.
He helped to establish the College de France, under
Francis L, superintended many architectural works like
that of the Palace of Chantilly, and invented a new
coinage under Henri II. His library at the Hotel de
Lyon, near to the Buci Gate, was composed of 8,000
volumes of classical and Italian authors — with but one
known MS. and hardly any French printed books —
of which only 350 have been traced. These were, no
doubt, mostly collected in Italy. After his death his
books were divided among his inheritors, and sub-
sequently found their way into the chief private collec-
tions of France. Most of them became the property of
Mery de Vic, and lay forgotten for more than a century
in the Hotel de Vic, which Grolier had bought from
the inheritors of Bude'. The hotel remained in the

38 HISTORICAL SKETCH OF BOOKBINDING.

possession of Grolier's descendants until 1676, when
it was sold. At the sale, Esprit Fle'chier, Bishop of
Nismes, acquired ten volumes, and it was probably
in 1725, at the Flechier sale of books in England, that
the first Groliers made their appearance in this country.
Their prices were very low until the beginning of
this century, but have been steadily rising, especially
since 1830. The sales of the Libri library did more
than anything to increase their value. The British
Museum possesses about thirty Groliers, the Dublin
University Library seven or eight, and there are many
others to be found in this country in private libraries.
Sixty-four volumes are in the Bibliotheque Nationale,
fifteen in that of St. Genevieve, and seven in the
Bibliotheque de 1' Arsenal.

There arises the question, did Grolier have his books
bound in Italy or France? M. Leroux de Lincy, to
whose researches we owe most information about Grolier,
thinks that they were chiefly, though perhaps not exclu-
sively, bound in France, while Fournier thinks the reverse.
It is a point that will probably never be decided, but the
early ones were most likely bound in Italy during his
sojourn there. In 1496, after the great expedition to

HISTORICAL SKETCH OF BOOKBINDING. 39

Naples, skilful Italian workmen came over to the court
of Charles VIII., and Grolier may likewise have brought
Italian workmen with him on his return from Italy, so
that even if fine bindings were not known to have
existed in France long before the i6th century, they
could well have been carried out there during his life-
time. It is probable, however, that Grolier followed
rather than set a taste in binding, but at the same time
he no doubt formed a school and created a native art out
of foreign material, and if the inspiration came from
Italy the development was thenceforth entirely French.
The style associated with his name was in fashion
throughout all the i6th century.

His bindings may be divided into two classes — those
done for others, but admitted into his collection, he
contenting himself with adding name and motto ; and
those which were specially done for him. The last may
be again divided into those bound for him in Venice,
and distinctly Italian in character, and those probably
bound in France between 1540 and 1556. Those
specially bound for him are in morocco or brown calf,
and the back, without ornament, has generally five or
seven bands, though some few in the Bibliotheque

AO HISTORICAL SKETCH OF BOOKBINDING.

Nationale are without bands ; at the beginning and end
of the volume there are four, five, or six leaves of
guard, the third being of vellum. The ornamentation
is in compartments, either in one of the rigid geo-
metrical styles which he first adopted, the Italian one
with coloured bands, or the French in black and gold,
or else in the third and latest style, with graceful inter-
lacings diversified by fleurons and other small tools on
the side. The Italian Groliers are all painted ; those
stained black with gold lines are thought by some to
mark the transition between the Italian and French
styles and are possibly French, but those with plain gold
lines only, without staining or colouring show the pure
French style. The motto " lo. GROLIERII ET AMICORUM,"
or "ME: GROLIERII LUGDUNENS. ET AMICORUM," is
generally found at the bottom of the front board, but
sometimes in the centre immediately under the title,
though when the binding is of the first class, it is
occasionally written in his own hand on the fly leaf.
On the other board is nearly always found " PORTIO MEA,
DOMINE, SIT IN TERRA viVENTiUM." He had other
mottos besides the three above named most often used.
" TAMQUAM VENTUS EST VITA MEA " is found only on a

HISTORICAL SKETCH OF BOOKBINDING. 41

copy of the Cortegiano of 1528, instead of "GROLIERII
ET AMICORUM," and on a: copy of the Poliphilo of 1499.
On others, " CUSTODIT DOMINUS OMNES DILIGENTES SE,
ET OMNES IMPIOS DiSPERDET." His arms, before his
marriage, are a shield, the field azure with three bezants
or, surmounted by three silver stars. After his marriage
he impaled those of his wife, Anne Briconnet. His
crest was a gooseberry bush with the motto, " NEC HERBA
NEC ARBOR," while " AEQUE DiFFicuLTER," together
with an emblem of a hand coming out of a cloud and
trying to pull up an iron nail attached to the top of a
hillock, is found on the volumes of 1501, 1508, 1513,
and 1515, the early years of his collection, referring
probably to some event in his life. The habit of having
several copies of a work was no doubt for the use of his
friends, for to Marc Lauwrin, Maioli, and the Presi-
dent Chris, de Thou, he made presents of books, as may
be seen from the inscriptions in them, and Geoffroy
Tory, Pithou, and Claude du Puy also had similar gifts
from him. Whether Grolier drew out his own designs,
or who made them, is not known. Geoffroy Tory, en-
graver and royal printer to Francis I., in his Champfleury,
a work on the proportion of ancient letters, speaks of

42 HISTORICAL SKETCH OF BOOKBINDING.

some which Grolier employed him to design in a way
that leads one to think they may have been those that
Grolier used on his bindings, and there is a great
similarity between some of the Grolier designs and the
borders that surround the pages of the Champfleury.
To Estienne de Laulne, the great engraver and gold-
smith, who worked with him on the new coinage for
Henri II., he also undoubtedly owed much.

Grolier is credited with having been the first to use
morocco as it is now dressed, and he certainly was among
the first to use lettering pieces on the backs of books, a
fashion which took a long time to get established. He
is known to have taken much trouble in getting the finest
moroccos from the Levant, which reached him through
Jehan Colombel, a merchant at Avignon.

It must be remembered that though we credit the

binder with the artistic decoration of books, it is in a

sense inaccurate to do so when dealing with this period.

Commercial During the whole of the time of which we are treating,

bindings.

the stationer was the binder ; he bound the whole edition
of his work, which he was then prepared to sell to the
public, if registered as a bookseller. It is usual to say
that the printer was also the binder at this time, but it

HISTORICAL SKETCH OF BOOKBINDING. 43

was only when he was also a stationer that he was in that
capacity likewise a binder. In the i6th century, binding
was done in the workshops of the stationer-booksellers ;
in the iyth it was still undei their direction, but done
outside of it by master binders. The commercial bind-
ing of the earlier periods was so decorative that it is im-
possible to neglect it, though it differs from hand-work
in being stamped by mechanical pressure. By commer-
cial bindings, we mean those issued by the printer-binders
and decorated by stamps on which the ornament was cut
entire. Almost all was probably commercial work till the
time of Grolier. Its early history belongs, of course, to
the history of blind stamped work, but it soon became
connected with gold ornament. Some of the stamps on
the books issued by these printer-booksellers are of con-
siderable interest. They were mostly parlant, that is to
say they usually contained some punning allusion to the
name of the binder, and served him as a sign. These
matrix-stamps were cut in metal similarly to those used
by the binder in his capacity of printer.

M. Gruel, who has made many researches about these
printer-binders, mentions in chronological order, as the
most important, Philippe Pigouchet, Denis Roce, Robert

44 HISTORICAL SKETCH OF BOOKBINDING.

Macd, the Gryphes at Lyons, Christophe Plantin at
Antwerp, Jean Bogard, Madeleine Bourselle, widow of
Francois Regnault, Jacques Dupuis, the Elzeviers, &c.
It seems to be a disputed point whether there are any
books extant from the Aldine Press having the anchor
stamped on the original cover. M. Gruel states that he
possesses several Elzeviers having the well-known mark
of that Press stamped in gold on the binding as first
issued. The Plantin Museum contains one specimen
with the stamp of the printer-binder, and the metal stamp
is likewise to be found among the printing plant carefully
preserved. This sign is a compass describing the arc of
a circle and the motto " LABORE ET CONSTANTIA," and
the book on which it is to be seen is a duodecimo bound
in calf, entitled Le Livre de V Institution Chr'etienne.
The brothers Angelier, printers at Paris in the middle of
the 1 6th century, had a far more ornamental sign of their
Press. It was a framework of blind lines on the sides,
with solid gold corner ornaments, and in the centre the
device of two little angels kneeling before an infant
Christ, who in His right hand holds the cord that con-
nects les anges lies, and in His left the globe. Geoffrey
Tory's bindings have his stamp of the broken pitcher,

HISTORICAL SKETCH OF BOOKBINDING. 45
which he took when he became bookseller. To this he Geoffrey

Tory

added later the wimble or auger. This first was adopted 1480-1533.
by Tory after the death of his little daughter in 1522.
At the end of a Latin poem, published in 1524, first
appears the engraving with the broken pitcher, and the
motto " NON PLUS," which he henceforth adopted as the
sign of his business, instead of " Civis." In the Champ-
fleury he explains this mark, but in an obscure way, and
with an apparent endeavour to connect it with general
affairs. There is little doubt however that it originated in
the death of Agnes, and may be thus interpreted : the
broken pitcher is her career cut short, the book with
clasps indicates her literary studies, which he superin-
tended ; the little winged figure her soul, and the motto
"NoN PLUS" = "Je ne tiens plus a rien." His own interpre-
tation in the Champfleury is not inconsistent with this, and
is briefly as follows : — The broken pitcher is our body
which is a vessel of clay, the wimble is fate which pierces
alike both strong and weak, the book with three chains
and locks signifies that after death our body is sealed by
the three Fates, the flowers in the pitcher are the virtues
we possessed in life. The plain broken pitcher alone is
found on the binding of several octavos ; on some quartos

46 HISTORICAL SKETCH OF BOOKBINDING.

we get the broken pitcher traversed by the wimble, or
toret as it is called in French. This was probably a
punning mark on his name, for it was always in the form
of a T, and was also used by engravers. There are three
bindings by Tory in the Bibliotheque Nationale. One,
the quarto, has the wimble, and the design has all the
appearance of having been painted on in gold, for it is
very free, and there are no sunk impressions of tooling.
There are two birds at the top among the scroll-work,
and it is throughout exceedingly fine. There is a Pe-
trarch, 1525, in the British Museum which has the pitcher.
Commercial binding about 1535 began to reproduce
the arabesque ornament and interlacings of the Renais-
sance; many such stamped covers are not easy to dis-
tinguish from hand-work, being exact imitations of the
best work of the master gilders, the dots and smaller gold
ornaments being added by hand after the main impres-
sion had been given. Marius Michel thinks that as
many as 80 per cent, of the French and Italian bindings
of small size, dating from the i6th century, were orna-
mented by means of stamps. During the first half of the
century commercial work was merely a reproduction of
hand-work. The Lyonnese binders, whose reputation

HISTORICAL SKETCH OF BOOKBINDING. 47
dates from the early i6th century, used very fine stamps. Lyons

bindings.

They were mostly the azured corners and centre pieces
which originated in Venice, but were largely used in
France. The rarest of these Lyons stamps are those
in imitation of certain title-pages of the time, having
caryatides supporting a framework with allegorical
figures. It was during the last half of the i6th century
that this commercial work had a really independent
artistic existence, and, consequently, was at its best. A
third phase of the stamped work is seen when the foliated
centre pieces, originally worked leaf by leaf, were engraved
as a whole for commercial bindings — laurel being first
used, the oak and palm leaves alternating with laurel not
coming in till the end of the i6th century. Corners were
made to match the centres, in which branches appeared
from a small cartouche, or the little cherub head so often
used by Renaissance sculptors.

It is interesting to see how commercial work followed
in the footsteps of artistic binding throughout successive
epochs, reproducing the best designs ; and later on, when
the art became decadent, also the worst. We need not
follow it further, now that the fact of its existence has
been emphasised, merely drawing attention to the

48 HISTORICAL SKETCH OF BOOKBINDING.

circumstance that it probably had indirect advantages —
first, in the discontinuance of wooden boards, which
could not support the pressure necessary to the stamp ;
and next, in the general refinement of the work, cord
being substituted for the strips of leather on which books
had hitherto for the most part been sewn.

During the Renaissance the artists who designed for the
printer, the jeweller, the potter and the craftsman in all
the minor arts, designed also the book-covers of the great
collectors, and such designs were carried out not by the
printer-binders, but by the professional doreurs sur cuir.
It was their business to gild and tool all leather work,
from the coffers and cases for jewels, then an important
business, down to the boots worn by the gallants, which
were decorated with fine arabesques in gold. Through-
out this time, then, the name of the binder does not give
us the name of the gilder, though such work was probably
carried out under the binder's direction. On the jewel
boxes above mentioned is often to be found work of the
same character as on contemporary bindings such as the
interlacings of the reign of Henri II., the small pointed
tooling of Le Gascon, and the lace-work of Derome.
The important gilders in the reign of Henri II. were

HISTORICAL SKETCH OF BOOKBINDING. 49

Jehan Foucault and Jehan Louvet. In the i yth century,
when the edict of Louis XIII., in 1618, was passed,
making booksellers and binders reside in the University of
St. Yves or in the Palace, and forbidding them to employ
any one not belonging to their craft, one Pigorreau, a
boot gilder of great reputation, endeavoured to get him-
self received as bookbinder, for fear of losing his employ-
ment on the covers of books. After much opposition on
the part of the craft, he succeeded, and we read in a
contemporary document, " Henceforth many gilders,
though opposed by the binders, either by payment of
money or on the pretext of an apprenticeship to binders,
contrived to become members of the Bookbinders' Com-
pany. But as these letters of freedom have always borne
the threefold description of bookseller, printer, and
binder, several lawsuits have arisen between the Company
and gilders who wished to be received into it." It was
not till 1686 that a statute was passed making the craft
of relieur-doreur separate from that of libraire im-
primeur.

It is impossible to discover the name of the great
designer whose work may be traced on the chief bindings
of Francis I. and Henri II., or of the great gilder who

E

50 HISTORICAL SKETCH OF BOOKBINDING.

carried out his designs ; and this obscurity continues
throughout the history of binding.

Francis i. Many of the books bound for Francis I. were Italian
in their ornamentation, in 'the style known as Grolier,
except that the arms of France generally take the place
of the title of the work or motto of the treasurer, which
on Grolier's books are usually found in the centre of the
sides. The emblem of Francis I. was a salamander
amid flames, and the motto " NUTRISCO ET EXSTINGUO,"
also the letter F. with the fleur de lys. The emblem and
motto were given him in his childhood by his tutor
Boisy, and he used them in his seal throughout his reign.
His books were mostly bound in black leather, excepting
the Greek MSS., which were in coloured moroccos with
smooth backs. Few books from his library are to be
met with besides the ten in the Bibliotheque Nationale.
Some that have dolphins show that the book was bound
in the reign of Francis I. but for the Dauphin. Only two
binders, Philippe Le Noir and Estienne Roffet — called
Le Faulcheur, were at this time entitled to take the title
of relieurs ordinaires du roi, and both were printers and
booksellers.

During the reign of Henri II. binding reached its

HISTORICAL SKETCH OF BOOKBINDING. 51
highest perfection, and yet the books from the library of the Henri n.,

I547'I554-

King and Diane de Poitiers are almost the only fine ones
that we know of. Peace had given place to war, and, the
arts being neglected, there were no distinguished collec-
tors, the King alone having a library of any importance.
Nevertheless, the best of the books bound for him and
his mistress, Diane de Poitiers, are the best known of
any period, bold and fine in design and unfettered by
any tradition. Their main characteristics of reserve and
simplicity are at once the reason of their excellence and
perhaps the explanation of the subsequent decline of
the ornamentation applied to book decoration. With the
exception of the emblems, no engraved tools were used ;
the designs were entirely composed with lines and
f segments of circles, which in combination enabled the
great designer, whose handiwork can be traced on the
best bindings of those reigns, to execute in a triumph of
arabesque both flowing tracery and an infinite variety
5?bf conventional foliage. As to what brings about
S-ihe degradation of ornament there will always be a
^difference of opinion, and, in fact, what constitutes
decadence in design is in itself an obscure point.
>;Certainly with the gradual use of engraved stamps

52 HISTORICAL SKETCH OF BOOKBINDING.

freedom and simplicity seemed to disappear, but it would
be arbitrary to assume that the engraved "tool" was
necessarily the origin of the deterioration of pattern.
Perhaps the explanation lies in the fact of the want of
restraint shown in the engraving of the tools. It seemed
such an easy way of getting effect, that they were soon
made too composite; they were made to contain too
much, so that the designs achieved by their aid, instead of
growing with an organic growth, if the expression may
be permitted, and from the delicate adjustment of small
and simple component parts, were gradually planned
more and more with a view to using these stamps, in
which the elaboration was the main feature. The
Bibliotheque Nationale possesses some 800 volumes
which must have constituted nearly the whole of the
library of Henri II. Most of the books have his
emblems beside the arms of France ; either his monogram,
with that of his Queen, Catherine de Medicis, the two
C's of the Queen being interlaced with the H of the
King ; or his monogram with that of Diane de Poitiers
and the deer, hound, and other emblems of the chase
suggested by her name. The ground plan of the designs
continues to be interlacings, but while in those that

HISTORICAL SKETCH OF BOOKBINDING. 53

Grolier borrowed from Italy there is a predominance
of straight lines, those done for Henri II. are com-
posed almost entirely of curves. There are two styles
in the designs : those having only interlacings and
curves and those with interlacings and azured tools
employed in the central ornament. The backs are
without any bands instead of having five or seven as
heretofore, and for the first time the decoration of the
back is brought into harmony with that of the sides.
He also had some imitation cameo bindings done
for him.

Both Catherine de Medicis and Diane de Poitiers had Catherine

M6dicis,

important libraries of their own, and it is a fact that has 1519-1589.
often misled purchasers of these books that to the
library of each belonged volumes having the monogram
of the other. Catherine brought with her from Italy the
art traditions of her family. Her dowry to Henri II.
comprised some MSS. from the library of Lorenzo de'
Medicis, and when the Marshal Pietro Strozzi was
killed at the siege of Thionville in 1558, she annexed
his library, pretending that she intended to buy it. Her
excuse, as narrated by Brantome in the Vie des Capitaines
Etrangers, was that the library came from a relative, the

54 HISTORICAL SKETCH OF BOOKBINDING.

Marshal having acquired it after the death of the
Cardinal Ridolfi, who was of the House of Medici.
When Catherine took possession of it she promised to
pay the Marshal's son, but never did so. More than
4,000 printed books, to say nothing of MSS., constituted
her private library at Chenonceaux in Tourraine, or at
the Chateau de St. Maur, near Paris, according to
Hilarion de Coste, which was enriched by costly presents
offered in exchange for her patronage of letters. On her
death, in 1588, her creditors obtained leave to sequestrate
her property, including her magnificent library. It ap-
pears to have remained at Paris under the guardianship
of Benciveni, Abbe of Bellevranche, her librarian. In
1594, De Thou, who had recently become librarian to
the King, lost no time in pointing out to Henri IV. that
the collection should revert to the crown. The King at
once issued letters patent to that effect, but they were
not put in execution for some years. They had to be
repeated and an Act of Parliament obtained. Thus it
was not till 1599 that Catherine's library was incorporated
with that of the Kings of France.

In 1597 an inventory and valuation of this library was
made by M. F. Pithou, many interesting extracts from

HISTORICAL SKETCH OF BOOKBINDING. 55

which may be found in a pamphlet entitled Notice sur la
Bibliothkque de Catherine de Medicis, by M. Leroux de
Lincy. Unfortunately, this inventory says little about
the binding. We know that Catherine did not have
bound for her the MSS. of the Marshal Strozzi, as Henri
IV. undertook that task, devoting to it the revenue of
the Jesuits which he acquired during their years of exile.
But that she employed the finest artists of the time for
her bindings is an undoubted fact from the examples
we know, and makes it the more unfortunate that the
inventory should be silent on the matter. A great part
of the library of Catherine is still in the Bibliotheque
Nationale ; but some important works mentioned in the
inventory are no longer there, and others with her arms
and motto are to be found in public and private libraries.
• M. Bauchart, in his Femmes Bibliophiles de France^ says
that the rarity of books with her arms is accounted for
by the fact that when they were united to the King's
library, they were mostly rebound with the royal arms as
a sign that they belonged henceforth to the crown, but
does not say what evidence he has in support of this.
Among the most interesting of the books from her
library possessed by the British Museum is the little set

56 HISTORICAL SKETCH OF BOOKBINDING.

in three volumes of the works of Dionysius the Areopa-
gite, bequeathed by the Rev. C. M. Cracherode. After
Catherine became a widow, in 1559, she took as her
emblem a heap of ashes watered by tears and encircled
by a scroll containing the motto, " ARDOREM EXTINCTA
TESTANTUR vivERE FLAMMA," and this device is to be
found on her later bindings. According to Hilarion de
Coste (Eloges sur les Vies des Reims, des Princesses et
des Dames illustres, Paris, 1647), she had also a broken
lance with the words, " LACRIMAE HINC, HINC DOLOR."
All phases of design may be traced upon her books, from
the Grolieresque style on the earliest of them, with straight
interfacings and solid Aldine tools, through the grand
period when the unknown artist who worked for Henri
II. evidently worked also for her, down to those bound
during the last years of her life, with the floreated ovals
and regular interfacings found on some of the books of
Henri III. and known as the Eve style.
Diane de The library of Diane de Poitiers at her Chateau d'Anet

Poitiers,

1499-1566. was hardly less celebrated. She appears always to have
had a taste for books, for in 1531, as the widow of Louis
de Breze', she adopted on her bindings an arrow,
encircled by laurels rising from a tomb, and the motto,

HISTORICAL SKETCH OF BOOKBINDING. 57

" SOLA VIVIT IN ILLO." Later, as the mistress of the
Due d'Orleans, afterwards Henri II., she suppressed the
tomb and modified the motto to " SOLA VIVIT IN ILLA."
Her library of splendid MSS. on vellum, and of specimens
of printing, was superbly bound, and frequently enriched
by presents from the King. Most of them have her
arms as Duchesse de Valentinois, and the motto above
named, with her emblems of the chase, and occasionally
the significant motto, " CONSEQUITUR QUODCUMQUE
PETIT." Her chateau at Anet was one of the chefs
d'tzuvrc of the Renaissance, a palace of enchantment
dedicated to the cult of Diana. It was built by
Philibert Delorme and sculptured by Jean Goujon ;
Jean Cousin designed the stained-glass windows ; and
Leonard Limousin and Bernard de Palissy vied with
each other in its decorations of enamel and pottery.
After the King's death Diana retired to Anet, where
she died and was buried in 1566. During the seven
years that she survived the King she constantly added to
her library, which remained at Anet entirely neglected
till 1723, when it was put up to auction on the death of
the Princesse de Conde', to whom it belonged.

Much controversy has arisen about the monogram

58 HISTORICAL SKETCH OF BOOKBINDING.

found not only on the books of Henri II, but in the
sculptured work of the chateau at Anet, and indeed
on most of the art monuments of his reign. Is this
monogram to be interpreted as a double D.H., sig-
nifying the initials of the King and his mistress, or is it
an H and a C, the letters of Henri and Catherine de
Medicis ?

The strongest arguments are for the first interpretation,
though M. Paulin Paris, among others, supports the
latter theory. He considers that Catherine adopted the
symbol of the crescent as her own, and that the monogram
is hers.

Against this we have to put the following facts : first,
that the monogram is often accompanied by the symbols
of the chase, with which Catherine could hardly have
associated herself; secondly, that that particular mono-
gram is never crowned as is the single H so often found
in juxtaposition ; thirdly, Catherine had a distinct
monogram of her own in which the double C is inter-
laced with the H, and in which the curves of the C
jut out beyond the H in such a way as to leave no
doubt about the letter ; fourthly, this monogram, in
which the character of the C is so apparent, is the only
one that is ever found crowned.

HISTORICAL SKETCH OF BOOKBINDING. 59
Marguerite d'Angouleme, sister of Francis I., and Marguerite

d'Aiigou-

Queen of Navarre, had some fine bindings, the general 'eme, 1492-
plan of which is a series of lozenge-shaped compartments
made of reversed curves. They are separated by
marguerites, and have the crowned monogram of the
Duchesse d'Alengon, or Queen of Navarre.

There were many private collectors of this period Private

Collectors.

whose bindings are much sought after. Marc Lauwrin, Marc Lauw

rin.

of Watervliet, near Bruges, whose books bear the motto,
" LAURINI ET AMICORUM," and sometimes " VIRTUS IN
ARDUO." There are four Lauwrins in the Bibliotheque
Nationale, all very plain and in black leather, with the
exception of one, which is in light brown. All have bands
except the last, and all have the name in a cartouche
on the front side and the motto similarly placed on the
other. Demetrio Canevari, physician to Urban VIII. Canevari.
the books from whose library are easily recognised by
their fine central oval stamp of Apollo driving his
chariot over the waves — Apollo being in gold, the sea
in green and silver, and the chariot coloured. The
motto, OP0O2 KAI MH AOEIQ2, runs round the stamp,
which is often enclosed in a fine border. They were
probably inherited by Demetrio, as they were mostly

60 HISTORICAL SKETCH OF BOOKBINDING.

bound in Venice between 1540 and 1560, while he was

not born until 1559. This library was in existence in

the Vico Lucoli in Genoa up to 1823. Peter Ernest

Charles Comte de Mansfeldt, the celebrated General of Charles

Comte de

Mansfeldt, y., had a fine library. His son Charles had also
1595-

decorative bindings. The books of Charles were bound

in the style attributed to Nicolas Eve, and had his arms

and monogram of two C's interlaced, also two deltas AA

interlaced, which together make the reversed triangles, so

Anne de well known on his books. The constable Anne de

Montmor-

ency, 1493- Montmorency had on some books his sword entwined
1567.

with a sash, and the motto, AIIAANO5 ; on others a

golden eagle and " DIEU AIDE AU PREMIER BARON
CHRETIEN." Philippe Desportes, who died in 1606, had
the double <f><j> on the backs of his books.

With the death of Henri II. the great traditions of
binding are suddenly interrupted. Four different gilders
have been traced at work on the chief books of Francis
I. and Henri II., and their work is seen no more.
Possibly they may have been obliged to leave the
country in consequence of the Huguenot persecutions
between 1562 and 1570.

Of Francis II. not many bindings are known. Of

HISTORICAL SKETCH OF BOOKBINDING. 61

these the chief decoration is either a dolphin in gold Francis n.,

1559-1560.
with plain lines on the side, or, after his ascent to the

throne, the arms of France with his monogram. The
work of the great gilder to Henri II. may be traced
on the best of his books with a monogram uniting his
initials with that of Mary Stuart. There are three in
the Bibliotheque Nationale and two in the Bibliotheque
de 1'Arsenal.

Of Charles IX. rather more bindings are extant. Some Charles ix.

1560-1574.
of those bound for Francis II. have the additional

initials of Charles IX., suggesting that they were perhaps
finished in his reign. They are mostly distinguished
by two C's reversed and interwoven sometimes with K,
which is believed to be the initial of his mother
Catherine de Medicis. The letters are crowned, and
occasionally constitute a semis. The arms of France
are in the centre, with or without two pillars united
by a floating scroll, and the motto " PIETATE ET

JUST1TIA."

There now arises a new style of geometrical inter-
lacing quite different from that hitherto prevalent, having
large intermediate spaces left unfilled with decoration,
which was particularly adopted by Henri III. This was a

62 HISTORICAL SKETCH OF BOOKBINDING.

Henri in., period of emblems, which were never more misused
1579-1589.

than by that monarch. He instituted the Order of the

Saint-Esprit, the symbol of which often appears on his
books, and his fanaticism shows itself in the religious
legends and devices, such as the Crucifixion and the
Passion, which are generally to be found on works bound
for him, without distinction as to whether they are
religious or profane. These occupy the centre of that
geometrical division into wide compartments above
mentioned, which formed the basis of the future bindings
of Louis XIII. and Louis XIV. when they were filled in
by the small tools of the Eves and Le Gascon. The backs
are nearly always plain, with a compartment at the top
containing the title, and in another at the bottom, " SPES
MEA DEUS," or " MEMENTO MORI." The intermediate
space has in an oval the royal arms and two or more
quatrefoils, usually containing a Death's Head — the
emblem of the Order of Penitents, to which the King
belonged. A second style, besides the devotional stamps
before mentioned, has frequently a semis of tears, fleurs
de lys, or the monogram of the King interlaced with two
lambdas AA representing Louise de Lorraine, his wife.
The British Museum possesses a very fine breviary belong-

HISTORICAL SKETCH OF BOOKBINDING. 63

ing to this King in two folio volumes, Paris, 1588. In
the centre of the front cover is the Crucifixion and on
the back cover the Annunciation. Each cover has a
double set of corners, and the field is powdered with
fleur de lys. Henri III. extended his sumptuary laws
beyond the dress of the bourgeois and nobility to the
decoration of their books. The titles were permitted to
be in gold, the edges to be gilt, and lines and arabesques
to be traced in gold, but all massive gold stamps were
forbidden — a decree that in nowise injured the progress
of the art. The austere character of the bindings done
for the King's own use did not however suit the taste of
his sister, Marguerite de Valois, and a new mode of
decoration arose, with which is particularly associated
the names of the Eves, for it constitutes their second
style, and which, for want of a better word, may be
called the foliated style. The Bibliotheque Nationale
possesses bindings of Henri III. in these three styles.

To Henri IV. 's reign belongs especially the fashion of Henri iv.

1589-1610.
semis of monograms, flowers, and small tools. Always in

existence from the earliest times, they were most popular
in the i?th century. Another mode of decoration
that also prevailed, and which marks the commencement

64 HISTORICAL SKETCH OF BOOKBINDING.

of the foliated period, were centres composed of branches
intertwined, which took the place of the heavier azured
centres that had hitherto prevailed in most of the simpler
bindings. Very few bindings are known as belonging
to Henri IV. besides the eleven in the Bibliotheque
Nationale, and those that exist are wanting in originality ;
they are marked with the H. crowned, and the shields of
France and Navarre, the whole being surrounded by the
collars of the Orders of St. Michel and the St. Esprit.

In other parts of Europe binding was far behind France
during the i6th century. Germany continued and
perfected the use of blind stamped leather all through
the period that Italy was developing gold tooling. In
England, too, that mode of decoration continued, though
not so late as in Germany, well on into the i6th century.
English It was not till the reign of Edward VI. that gold

binding of

the i6th tooling became usual in England, most of the leather

century.

binding, in Henry VIII.'s reign, being still blind tooled,
though with exceptions. The Journal of the British
Archceological Association, 1853, vol. VIII. contains
Berthelet's bill, as King's printer, for books sold and
bound and for statutes and proclamations furnished to
the Government in 1541 — 1543. From the items put

HISTORICAL SKETCH OF BOOKBINDING. 65

down we can glean something of the nature of the
binding done for Henry VIII. : " Item delyvered to the
Kinges hyghnes the vj day of January a Psalter in
englische and latine covered with crimoysyn satyne, 25.
Item delyvered to the Kinges hyghnes for a little Psalter,
takyng out of one booke and settyng in an other in the
same place, and for gorgeous binding of the same booke
\\}d. ; and to the Goldesmythe for taking off the claspes
and corner and for setting on the same ageyne xvj^/.
Summa 2/4." Then we have such phrases as " bound
after the facion of Venice," " bound after the Italian
facion," " bounde after the Venecian fascion," " covered
with purple velvit and written abowte with golde."

There are gilt tooled bindings of Henry VIII. in the Henry vin.

1509-1547.
MS. Department of the British Museum. The most

important is a folio commentary in Latin on the
campaign of the Emperor Charles V. against the French,
A.D. 1544, addressed by Anthonius de Musica of Antwerp
to the King of England. The binding is in dark brown
calf, having in gold an oblong in the centre with the arms
of England and the initials H.R. Above this panel there
is a tablet with "VERO DEFENSORI FIDEI," and below
another tablet with " ERRORUMQUE PROFLIGATORI

F

66 HISTORICAL SKETCH OF BOOKBINDING.

OPTIMO " : on each side of the panel are two medallions
of Plato and Dido. The whole is enclosed within a
graceful arabesque border surrounded by blind lines,
which also run on either side of the panel and round
the extreme edge of the book. The reverse side is the
same, except that the mottoes are " MAXIMO HENRICO
OCTAVO " and " REG. ANGLORUM, FRANC., HIBERNICQUE,
P, M, P, P, D, G." The whole binding is in a fine state
of preservation and the border is particularly good, made
up, as borders were of that time, by the repetition of a
single stamp of Venetian design. Another binding of
Henry VIII. is the Liber de tribus Hierarchiis, by
Gualterus Delaenus, an octavo in brown calf. It has the
arms of the King, and beneath a rough impression of
the serpent and the crucifixion as type and anti-type.
These are all set in a geometrical pattern of a square
interlaced with a diamond, the remaining spaces being
filled up with heavy tooling.

There are also two volumes in precisely similar binding,
though containing in one case " An address for a body
of Laws to be made in Latin" and in the other a
treatise " De origine Dominorum" They are in olive-
green morocco very rarely found on any English books

HISTORICAL SKETCH OF BOOKBINDING. 67

of the period, and the size is a small quarto. In the
centre of each cover are the arms of the King and the
letters H.R. set in a diamond-shaped framework of blind
and gold lines. This is again enclosed in a larger
diamond, broken at the top, bottom, and sides by a
gouge. The whole is framed in a square of gold and
blind lines with corner ornaments, the spaces between
that and the diamond being filled in with scroll-work
and flowering cornucopia.

The Printed Book Department has several English gilt
tooled bindings of Henry VIII. One, an Antwerp Bible
in two folio volumes, is very similar to the first one
described. Both volumes have mottos from the Bible
in large letters set in bands as a centre panel. On the
front cover of Vol. I. is " AINSI QUE TOUS MEURENT PAR
ADAM," and on the back cover "Aussi TOUS SERONT
VIVIFIES PAR CHRIST." Vol. II. has on the front "LA
LOY A EST£ DONNEE PAR MovsE," and on the back " LA

GRACE ET LA VERIT& EST FAICTE PAR JESU CHRIST."

There are also the initials of Henry and Anne and a
crowned rose at the top and at the bottom of the panels,
the whole being enclosed in a framework of a double
border with blind and gold lines. A second is a vellum

68 HISTORICAL SKETCH OF BOOKBINDING.

printed quarto by Berthelet, entitled Opus exinrium de
vera differentia regies potestatis et ecclesiastics. Each side
has a panel with the arms of the King, his initials and
crowned rose in the centre and corners, which is again
enclosed in a framework of four heavy corners con-
nected by a slight border. A third is Elyot's Image of
Governance, also a quarto, printed by Berthelet. This
is in white leather, and the design is entirely Italian.
Each cover has the royal motto " DIEU ET MON DROIT "
with the King's initials set in a square panel of arabesque
ornament : the border and corners are similarly of Vene-
tian pattern, and on the edges of the leaves painted in
gold are the words " REX IN JETERNUM VIVE."

It is probable from the nature of the tooling that all
the bindings above described were of English work-
manship, and possible that those printed by Berthelet
were also bound by him ; but one cannot definitely
assign any particular work to him. It will be seen
from his bill that he bound many blank books for the
King; but Henry VIII. had also some books of plain
paper made abroad for him, for one, a large folio in
black leather, containing the Privy Purse expenses from
1529-1532, is certainly not English in the character of its

HISTORICAL SKETCH OF BOOKBINDING. 69

ornament. It has a centre diamond ornament, a border
made by a very fine roll, and corners formed by the
border roll being carried across. Another of foreign make
was obviously not put to use till more than a century
and a half later, for it contains a list of works in the
Royal Library about 1670-1680. It is an enormous
folio, made of Italian paper, and having parchment end
papers emblazoned with the royal arms and insignia of
Henry VIII. It is very solidly made, and certain parts
have ornamental sewing : the whole is both blind tooled
and stamped, many of the dies looking as if they were
made for the whole sides of small books.

Books bound for Edward VI. are more numerous ; Edward vi.

I547'i553-

these are well worth study in the British Museum. One in
the MS. Department, Gualteri Delceni Commentarius,
is particularly perfect in the adaptation of the design to
the size of the book, which is a duodecimo. It is of brown
calf, with the arms of the King and the badge of the
daisy in gold in the centre. There are light corners of a
sort of floral cornucopia, and the whole is set in a frame-
work of blind and gold lines.

There is likewise a small quarto, the Travels of
Giosafat Barbara, of Venice, to Tana and Persia, trans-

70 HISTORICAL SKETCH OF BOOKBINDING.

lated by William Thomas and dedicated to Edward VI.
It is in light brown calf, having some scroll-work in
gold, with the arms of 'England in the centre within a
flamed circle. The circle as well as a surrounding inter-
laced oblong and diamond and an outer border are
coloured black. Books bound for Edward VI. before
he was King have the feathers, motto, and initials E.P.,
afterwards his arms and initials E.R., and sometimes a
verse from Scripture. There is an octavo in the MS.
Department done for him a year before he came to the
throne, "Lists of cities named in Trogus Pompeius and
in the Epistles of Cicero" addressed by Petrus Auvarius
to Edward, Prince of Wales, A.D. 1546. It is in light
brown calf, and has in the centre a panel with the Prince
of Wales's feathers, motto, and initials E.P., surrounded
by a circle of flames and rays. The border is made up
by the repetition of an arabesque tool, and the field is
filled with scrolls, rosettes, and stars. Three blind lines
surround the gilt tooled panel, and three are placed again
at the edge of the book.

In the Printed Book Department there is another,
De amplitudine Misericordicz Dei, Andreasius, Basilese
1550, which has the arms and initials of Edward

HISTORICAL SKETCH OF BOOKBINDING. 71

VI. in a panel of gold, and blind lines with corner
tools.

In the same Department there is the only one to be
seen with a Scriptural verse; La Geografia de Claudia
Ptolomeo, Venetiis, 1548, which has the motto "OMNIS
POTESTAS A DEO " on the sides. On the edges of the
leaves are the arms of Edward VI. painted in colours
with the initials E. R. in gold. Otherwise the binding
is quite plain but for a bordering gold line.

Perhaps the finest binding done for Edward VI. is the
Petri Bembi Cardinalis Historia Veneta, Venetiis, 1551.
The design is a very good interlaced pattern in black,
each cover bearing the arms and crowned initials of the
King. In a circle above the arms is the royal motto
" DIEU ET MON DROYT," and in one below them the
date MDLII. English binders throughout the i6th
century reproduced only foreign styles on their leather
work, the designs of which were often very good but the
execution far behind the French or Italian prototypes.
They were very fond of the circle as ornament, especially
flamed, and its use may be noticed as a differentiating
characteristic in the foreign geometrical types that they
adopted.

72 HISTORICAL SKETCH OF BOOKBINDING.

We have seen this ornament on two Edward VI.
books, and it is more frequent on those bound for
Queen Mary. Berthelet who died in 1556 probably
bound for both.

Mary, There are three books belonging to Queen Mary in

1553-1558-

the MS. Department of the British Museum. Myles

Huggard's poem addressed to her is a quarto in brown
calf, having a centre ornament of her arms in a flamed
circle, and the letters M.R. at the top and the bottom,
and one gold line with corner ornaments as a border
to the whole.

Another is a Hora bound in vellum. It has her
crown and arms in the centre, and there is a panel of
blind lines surrounding it, with a delicate gold orna-
ment placed at intervals within them, and angle
ornaments.

Among the Printed Books are to be seen Bonner's
Profitable and necessarye doctryne, 1555. The arms of
the Queen are again seen in a flamed circle set in a
diamond panel. This panel is enclosed in an arabesque
border, the field being filled in with scroll-work. There
are blind lines at the side of the border and all round
the edge of the book.

HISTORICAL SKETCH OF BOOKBINDING. 73

Lastly, the Epitome Operum Divi Augustini, Colonise,
1549. This is a very fine folio in brown calf. It has a
centre panel of a diamond interlaced with an oblong,
containing the arms of the Queen in a flamed circle.
There is a broad border of Venetian pattern, and all the
spaces between that and the panel are filled up with
arabesques. There are three blind lines round the
outer edge and an extreme bordering line of gold.

The Black Acts, Edinburgh, 1556, is the only English
binding in the British Museum done for Mary Queen
of Scots. It has on each cover her arms impressed in
gold and painted, and accompanied by the words
" MARIA REGINA " upon two scrolls, the whole being
enclosed within a broad gold border.

We have said that foreign types of design prevailed
in England throughout this period. Besides the inter-
laced and arabesque work described in many of the
above-named books, enamelled or painted mosaics are to
be found similar to the Italian originals. There are
seven volumes of an Aldine Cicero at the British Museum
in this style, with the showy arms of the Heydon family,
to whom they belonged — a Talbot passant argent, spotted
sable.

74 HISTORICAL SKETCH OF BOOKBINDING.

Another style was that with azured corners and centre
pieces which, originating in Venice, became firmly es-
tablished at Lyons, and was soon introduced into this
country.

Most of these styles may be seen on the bindings of
Queen Elizabeth, and by that time the technique had
considerably improved. It may be remarked here that
though we speak of English bindings at this time, it is a
disputed point whether much of the work was not done
by foreign workmen. The evidence however is in favour
of its being English, for though the designs are often
good enough for French work, the execution and the
drawing are mostly inferior.

Elizabeth, Many of the bindings belonging to Queen Elizabeth
1558-1603.

were very fine. Some in brown calf have the device

of a crowned falcon holding a sceptre, which was ori-
ginally Anne Boleyn's, but continued by her daughter,
and others are in vellum elaborately tooled.

In the MS. Department of the British Museum is a
vellum-bound quarto, Aetonensis Schola Oratio de
adventu R. Elizabeta ad arces Vindesorenses^ 1563.
It is a fine specimen of tooling, with her arms in a panel
with corners and a border of arabesque.

HISTORICAL SKETCH OF BOOKBINDING. 75

There are also several embroidered bindings and
others decorated with enamel or silver ornaments.
Indeed the leather bindings done for Elizabeth were
not numerous, if we can judge from the few that
remain.

Her taste seems to have been principally for a more
ornate style, if we can judge from Paul Hentzner's
account in A Journey into England in the Year 1598.
" In Whitehall are the following things worthy of obser-
vation. I. The Royal Library well stored with Greek,
Latin, Italian, and French books. All these books are
bound in velvet of different colours, though chiefly red,
with clasps of gold and silver ; some have pearls and
precious stones set in their bindings."

Corpus College, Cambridge, has some books with a
portrait generally said to be that of Elizabeth.

The chief private collections of this century were those English

collectors

of: — Thomas Wotton, 1521-1587, called the English
Grolier, from his adopting a similar style and motto
to that of the French collector ; Archbishop Cranmer ;
Lord Treasurer Burghley ; Robert Dudley Earl of
Leicester, whose books, generally marked with his crest,
the bear and ragged staff, and his initials, R.D., are very

76 HISTORICAL SKETCH OF BOOKBINDING.

fine and much decorated ; Archbishop Parker ; Henry
Fitz Alan Earl of Arundel, whose emblem was the white
horse; Lord Lumley, his son-in-law, who died in 1609,
and Sir Robert Bruce Cotton. Many of the bindings
done for Wotton are very fine, not inferior to the best
Groliers. There are three in the British Museum. One,
Cicero's Questions Tusculanes, in duodecimo, Lyon, 1543,
of which the design has been frequently reproduced.
Another, the finest of all, the Historia Mundi of Plinius
Secundus, Lugduni, 1548, is a folio, also in brown calf,
having at the top and bottom of each cover a com-
plicated interlaced geometrical pattern in black, and
between them a square scrolled centre with his arms.
The whole is one of the finest specimens of English
binding of the time.

There is a copy in a very poor state, the Exposition of
Daniel the Prophcte, in duodecimo, like the rest in brown
calf, having at the top of the front cover "THOM/E
WOTTONI ET AMICORUM," in the centre a medallion of
a man's head, and beneath, "1548": on the reverse
side, at the top, " THE EXPOSITION OF DANIEL," in the
centre a medallion of Lucretia stabbing herself, and at
the bottom " THOM^: WOTTONI ET AMICORUM." This

HISTORICAL SKETCH OF BOOKBINDING. 77

came from Cambridge, having been in the possession
of C. Combe : and a similar binding is still there with
the medallions and the motto of Wotton.

The books from the libraries of the other collectors
mentioned are not described, because they are all
similar in design to the various work done for the
English monarchs, and, like those, are of foreign
character.

Throughout this period brown calf and sheep was the
leather used, morocco not occurring even in the Royal
libraries till the time of Elizabeth or James I. These,
together with vellum and velvet, formed, with very rare
exceptions, the material in which all books were bound.

CHAPTER II.

French bind- THE Eve style is first associated with the library of

ing during

the i7th Marguerite de Valois, the third daughter of Henri II.

century.

and Catherine de Medicis, and first wife of Henri IV.,

who inherited a love of books and spent much time and

Marguerite money on her library. The small floral compartments

de Valois,

1552-1615 centered with marguerites that diaper her volumes,
mostly bound in olive, red, and citron morocco, are
known to all. Those having in the centre of one side a
shield with three fleurs de lys on a fesse — and on the
other side the motto, "EXPECTATA NON ELUDET,"
are often ascribed to her library, but in the opinion of
M. Guigard were most probably bound for Marie-
Marguerite de Valois de Saint-Remy, daughter of a
natural son of Henri III. Some bindings of the Eve
character were done for Henri IV. before he came to the

HISTORICAL SKETCH OF BOOKBINDING. 79

throne, and they all have the border of blended palm

and laurel foliage in the Eve style. Marius Michel says Antoinette

deVendome.

the King's aunt, Antoinette de Vendome, had many books
bound in the same manner. Her initials A. and V. were
entwined in the centre of the panel, or two C.'s, the
initials of her husband, Claude de Lorraine, and in the
foliaged ovals the two AA of Lorraine alternate with a
flower.

There is one sign often to be found on the bindings,
ascribed to Marguerite de Valois, and on other books of
the 1 6th and early iyth century, namely the S. barre.
Many explanatory theories have been brought forward
about it, and at one time it was considered to be the
monogram of Gabrielle D'Estrdes, but subsequently
being found on books preceding her time, it has been
considered to signify fermesse. It was most probably a
religious symbol. On some autograph letters of Henri
IV. at the Bibliotheque de 1' Arsenal, it may be seen
placed at the top of each letter and also at the end
with his signature.

The Eves were a family of binders of whom the first, The Eves
Nicolas, worked for Henri III. in 1579. For the King
he bound 42 copies of the Livre des Statuts de I Ordre

8o HISTORICAL SKETCH OF BOOKBINDING.

du Saint-Esprit, the order founded by Henri III. His
brother Clovis bound for Henri IV. and Louis XIII.
Many of the books bear his name on the title-page
but the majority are unsigned. In the elaborate work
associated with his name the geometrical lay-out of
the designs remains as before, but it has not the unity
that has hitherto characterised similar work, for the parts
are separable from each other. The originality con-
sists in surrounding the compartments with scrolls or
spirals and branches of laurel and palm. There are three
distinct styles in the Eve work ; in the earliest the com-
partments are not filled in at all, in the next they have
the small azured tools of the Lyons school ; the interlac-
ings are much richer, the branches more important, and
the spirals broken up with small azured tailpieces ; in the
latest the spirals are smaller and more numerous, palms
alternate with laurel and oak in the branches, and the
compartments are filled with the iyth century tools to
be described later. The name of Fanfare was given to
this style of work in the last century, when Charles
Nodier had a volume entitled Les Fanfares et Courvees
abbadesques, bound for him in this manner by
Thouvenin, and ever since the small tools employed in

HISTORICAL SKETCH OF BOOKBINDING. 81

it have gone by the name of Fanfares. There were no
inside borders at this time.

Jacques Auguste de Thou was the most celebrated De Thou,

1553-1617.
patron of binding during the last part of the i6th century.

Son of Christophe de Thou, first President of the Parlia-
ment of Paris, he inherited from him a valuable library,
containing several books bound for Grolier, which the
latter had presented to Christophe, in gratitude for
having saved ~ his life and honour. Jacques Auguste
was President of the Parliament under Henri IV., a
position his son held after him. He had a library of
8,000 volumes bound in a variety of styles. It included
Fanfare bindings of the late period, in which the spirals
were profuse and the foliage elaborate and delicate ; the
dotted work of Le Gascon in his early days ; fawn-
coloured calf, ornamented with plain gold lines ; white
vellum stamped with arms ; and, most numerous of all,
books covered in moroccos, red, olive, and citron, per-
fectly plain except for his fine coats of arms. These
arms vary greatly at different periods of his life, in the
following succession. Before he was married they were
simply argent with a chevron sable between three gad-
flies of the same, with a cherub's head as his crest above

82 HISTORICAL SKETCH OF BOOKBINDING.

the escutcheon and his name below, the whole enclosed
between two branches of laurel. Later, he added his
monogram, I.A.D.T., and this and the arms are on his
books up to 1587, when he married Marie Barbangon.
After this he impaled his wife's arms, gules with three
lions crowned argent, with his own, and modified his
monogram to I.A.M. Marie died in 1601, and the
following year De Thou married Gasparde de la Chastre.
Henceforth her arms replace Marie's, and the monogram
becomes I.A.G. He left this library in perpetuity to his
family, and the eldest son, Francois Auguste, librarian
to the King, guarded it till he was beheaded in 1642
at Lyons. The third son of the historian was then
put in the place of Frangois, and became the head
of the family and the owner of the library, which
he enriched with the collection of his father-in-law,
Huges Picardet. His books are known by the combined
arms of De Thou and Picardet until 1660, when he was
made Baron de Meslay. His arms are henceforth sur-
mounted by a count's coronet instead of a baron's, and
the motto "MANE NOBISCUM DOMINE." Three years
after his death, in 1677, the Abbe de Samer-aux-Bois
sold the collection to meet the creditors of the family.

HISTORICAL SKETCH OF BOOKBINDING. 83

Charron de Me'nars bought it almost intact, except some
of the MSS., which went to the Royal library. In 1706,
the Marquis de Me'nars resold the library to the Bishop
of Strasburg for ^"40,000, who bequeathed it to his
nephew, the Prince de Soubise, and it was only finally
dispersed in 1788. By far the greater part of De Thou's
library was plainly bound in rich red morocco with his
arms — a style that was subsequently much copied by
collectors in all countries.

We have now come to the end of the i6th century,
for though the Eves and their new style belong to the
extreme end of it, their most characteristic work belongs
to the 1 7th. It remains only to say a few words about
binding itself at the period we have reached as apart
from decoration. Early i6th century binding is mainly
remarkable for its solidity; with Henri II. the work
became much finer. Bands on the back were at first
very numerous and heavy ; later on they were discarded,
and the ornament of the back was then brought into
relation with that on the sides, as may be seen in the
best work of Francis I. and Henri II., though this was
hardly practised regularly till 1560. It is the custom to
consider that the practice of sawing across the backs of

G 2

84 HISTORICAL SKETCH OF BOOKBINDING.

books, to embed the cord on which the leaves are sewn,
did not originate until the i8th century, but it is evident
from the plain backs of this time that something of the
sort took place as far back as the middle of the i6th
century. It was not till the end of the i6th century
that the leather began to be pared before covering — an
important step in the direction of neatness and delicacy
of work. Throughout the century the guards and lining
papers were white, and sometimes of vellum ; the edges
of the books were profusely ornamented with designs
similar in character to the sides, and carried out by
means of matting tools, while a further luxury was the
marker of silk or ribbon, often ornamented with precious
stones.

Louis xiii., The books of Louis XIII. were principally decorated
1610-1643.

with a semis of fleurs de lys, and do not differ much

from those of Henri IV. His device was the single L.
crowned, often used in the semis with the fleur de lys,
and these were occasionally used in conjunction with the
crowned monogram of Queen Anne of Austria, two A.'s
interlaced, one of which is reversed. The sides were
sometimes bordered with the branch work used so much
in the preceding reign. Another type may be seen in

HISTORICAL SKETCH OF BOOKBINDING. 85

the British Museum, consisting of a framework of lines
broken at the top, bottom, and sides by half circles, with
angle ornaments, the crowned L. and the crowned A.'s.

On certain of these books there is, besides, a small
centre panel containing a monogram of the letters H.
and D. surrounded by the S. ferine*. This is asserted by
Guigard to possibly signify that they originally belonged to
Henri IV. and Gabrielle d'Estrdes, passing subsequently
into the library of Louis XIII. But this explanation
seems more ingenious than probable, as it is unlikely
that the d' of d'Estre'es would be given as the prominent
letter of the name.

In the Bibliotheque Nationale may be studied three
types of books bound for Louis XIII. : the semis of
crowned L. and fleurs de lys ; the semis of crowned
XX only ; and the semis of crowned fleurs de lys only.
His use of the crowned XX must not be confounded
with the lambda used by Louise de Lorraine and
Henri III. His binders were Clovis Eve, and after him
Macd Ruette, who worked between 1606-1638, and is Mac<£

Ruette.

supposed to have introduced into France marbled paper
and a yellow morocco also marbled.

It may not be amiss to say here a few words about

86 HISTORICAL SKETCH OF BOOKBINDING.

marbled paper, the origin of which remains obscure.
Some think it originally came from Holland as wrapping
for Dutch toys. La Caille (Histoire de V Imprimerie,
Paris, 1689, p. 2 1 3) assigns its invention to Mace' Ruette,
1606-1638. John Kunckel (Ars Vitraria Experimen-
talis, Dantzig, 1679, ii. xliii) claims it for Germany, and
also describes its method of manufacture. Lord Bacon,
again (Sylva Sylvarum, Cent. 8, No. 741), calls it a
Turkish invention, and thus describes it : — " The Turks
have a pretty art of chamoletting of paper, which is not
with us in use. They take divers oyled colours and put
them severally (in drops) upon water ; and stirre the
water lightly, and then wet their paper (being of some
thicknesse) with it, and the paper will be waved, and
veined, like chamolet or marble." In the Athenceum of
November i6th, 1889, there appeared an account of an
album amicorum, 5^ in. x 3f in. just purchased for the
South Kensington Art Library, containing 228 leaves, of
which forty-six are of marbled paper, comprising no
fewer than thirty-four varieties. This book belonged to
Wolffgang, of Vienna, who left that town in 1616 for Con-
stantinople, where he remained eight years. The earliest
entry is dated May i4th, 1616, the latest, January igth,

HISTORICAL SKETCH OF BOOKBINDING. 87

1632. " Besides the forty-six leaves of marbled paper
above mentioned, there are eighty leaves with a reserved
space for writing or painting on, the broad border being
adorned either with ornamental panels, similar to those
on Persian bindings of the i6th century, or else with
floral decoration like that on the so-called Rhodian tiles
and plates." The writer considers that " marbled paper
in its varieties was therefore most probably of Turkish
invention, as the hitherto known examples, French or
Dutch, which can be attributed to a date prior to 1680
are all of one class, the small comb variety."

The MS. Department of the British Museum con-
tains 520 books of this class. The fashion of having
these books in which to put autographs, coats of
arms, drawings or any record of personal friends was
mainly a German one, and prevailed from the latter part
of the 1 6th century to the end of the i8th century.
Out of this large number only 32 possess any leaves
of marbled paper at all, ranging from a single leaf
to as many as 139 in one book. They were evidently
inserted as a curiosity, and as they were bound up in the
book when it was made for the owner, it is obvious that
the earliest date of any signature contained therein, or of

88 HISTORICAL SKETCH OF BOOKBINDING.

the binding, if it is a dated binding as many are, must
be taken as the date of the marbled paper contained in it.

It is a curious fact that the earliest album in the
British Museum containing specimens of marbled or
patterned paper is one that has 38 leaves of the paper
described above by the writer in the Athenaum as
Eastern in character, having a panel pattern or floral
decoration faintly shadowed upon it in a transparent
fashion. The entries in this book range from 1586-
1608.

The next in chronological order is 'in a contemporary
binding bearing the date 1599. This has 8 leaves of
marbled paper veined and blotched both sides in a grey-
blue and pink, but there is no comb pattern among
them.

The next in date, 1606-1614, has 28 leaves of
marbled paper, all grey-blue vein marble, and some very
faintly and delicately done like the Japanese marbled
paper now in the market. But the most important one,
as far as the number and variety of marbled and other
coloured papers is concerned, is a Wisendisches Denksbuch,
1620-1640. It is an entry book of the births, deaths, &c.,
of the family of Francis Wisendo of Wesenburg, Secretary

HISTORICAL SKETCH OF BOOKBINDING. 89

to the Aulic Council, 1613-1660. It contains 139
leaves of paper marbled both sides, over twenty leaves
of other varieties, some sprinkled with gold or various
colours, others plain coloured and glazed, and also three
leaves of the "shadowed" paper found in the earliest
dated album, but without the Eastern character. From
an inspection of these albums containing marbled papers
certain conclusions may be drawn, though it is possible
that at any time some discovery may be made that will
alter them. At present, however, it appears that the
" shadowed " papers — of whatever nationality they may
be — are earlier than any of the marbled papers, and that
they are much earlier than appears from the South Ken-
sington album, i.e. 1586 as against 1616. It is also
evident that marbled paper, veined, blotched, and
swirled appeared before comb marble, which was in
fact a more mature development of the art, and that
thus the statement "that all known examples of marbled
paper before 1680 are of the small comb variety," is not
borne out by an inspection of the albums in the British
Museum.

Antoine Ruette succeeded his father between 1640
and 1650 as Crown binder, and did some fine work

90 HISTORICAL SKETCH OF BOOKBINDING.

for Anne of Austria, during her Regency, and for the
Private Col- Chancellor Seguier. The motto of Se'guier was " ARTE

lectors.

ET MARTE," and he had the ornament of the golden
fleece on his arms. To the same period belong also, as
collectors, Mornay, Philippede, Dupuy, La Vrilliere,
and Richelieu. Mornay's books have, besides his arms,
his monogram of <f> between two C.'s facing each other,
which was the initial of his wife Charlotte d'Arbaleste.

The brothers Pierre and Jacques Dupuy had, besides
the arms, the double delta arranged as a star. The
Mare*chal Balthazar de Villars has a shield with his
crest and the motto "FoRTis FORTUNA FORTIOR," and
beneath, the letters B.D.V. Richelieu had his arms
with the episcopal insignia and the motto " His FULTA

MANEBUNT."

It is impossible to describe here the marks of owner-
ship on the books of all the collectors, who henceforth
became more and more numerous. They are mostly
coats of arms and crests, a knowledge of which is in itself
an elaborate and difficult study. Those whose ambition
it is to be able at once to assign the ownership to such
books must take as their guide, for French bindings, M.
Guigard's Armorial du Bibliophile.

HISTORICAL SKETCH OF BOOKBINDING. 91

Towards the end of the last century, there had been a
growing tendency to use engraved tools, of a highly com-
plicated and stereotyped form, which increased in the
present time, and was, as before remarked, a sign of the
decadence rather than of the growth of the art. Such
were the little vases of the time of Henri IV., which were
used throughout the lyth century, and by the imitators
of Le Gascon. Such also were the delicate tools copied
from the designs on embroidery and lace of frequent use
throughout the time of Louis XIII., and which were
placed at the angles of the design, and also, so to speak,
cornered the centre compositions. Rolls, too, began to
be used at the extreme end of the i6th century, and
gradually developed in size and elaboration, obviously
thereby helping towards the mechanical reproduction of
ornament.

About 1625 there appeared a new development of the Le Gascon.
Eve style, always associated with the name of Le Gascon,
though no documents have ever confirmed the existence
of a person of that name. Supposed to have been in
the workshop of the Eves, he took the Fanfare style, with
its complicated geometrical framework, as the basis of
his designs, but worked out all the scrolls in fine dots

92 HISTORICAL SKETCH OF BOOKBINDING.

instead of solid line. His work is the extreme of reaction
from the plain Aldine tools of the early Groliers. Tools
had begun to get finer with the Eves, but with Le
Gascon they reached the height of delicacy and perfec-
tion. In his later styles he abandoned any solid frame-
work at all, and made up his designs of the pointille
ornament alone, which, ceasing to be an accessory, forms
a tracery of the minutest arabesque. This style retained
its chief place until 1660, when it gave way to a reaction
in favour of more solid work. Pointille or Le Gascon
work may be traced distinctly in three styles : in the
earliest he combined on a simple geometrical basis of
solid line and curve the finely-cut centre pieces and cor-
ner tools, which, imitated from lace, are distinctive of
the 1 7th century; then come the designs with the same
curve and line ground plan, but with the corners
pointing and a mass of the same tooling round the cen-
tre panel of line ; and finally, those in which the whole
background of the design is worked in pointille, leaving
the geometrical interfacings alone plain. Most of his
work was done on a red morocco, of a particular
tone, and the brilliancy of the contrast between these
plain bands and the mass of sparkling arabesque, has

HISTORICAL SKETCH OF BOOKBINDING. 93

never been equalled. The mosaic effect on work of
this period was produced by the design. There were
no mosaics in which the interlacings were inlaid with
leather. Such leather inlays as these were always
of the fonds or groundwork, such as the small
shaped pieces to be seen on the Florimond Badier
in the Bibliotheque Nationale, a picture of which
may be found in M. Gruel's Manuel Historique et
Bibliographique.

Throughout the reign of Louis XIV. binding continued Louis xiv.

1643-1715.
to increase in quantity. The King's binders were Antoine

Ruette, Florimond Badier, whose splendid signed ex- Florimond

Badier.

ample of the Imitation m the Bibliotheque Nationale,
just alluded to, shows that he possibly did many of the
pointille bindings ascribed universally to Le Gascon.
On the signed binding of Badier, above mentioned, there
is to be seen the little head, executed in small dots, that
is supposed to be the mark of Le Gascon, which leads
M. Gruel to think that they were possibly the same
person. Nothing is known of Badier except that his
name occurs as bookseller in the catalogue of Lottin in
1645. There is one example of his work in a private
collection in this country, but it is much inferior to the

94 HISTORICAL SKETCH OF BOOKBINDING.

one in Paris. To Badier is assigned the first important
"Doubiures" use of " doublures," or the lining of the inside of the
boards with leather, for the purpose of their decoration.
The first known doublure is on an Italian binding of
1550 in the Bibliotheque Nationale ; but until the time of
Louis XIV. the examples are very rare, so that the usage
was then first established, as was also that of marbled
paper, instead of the vellum or plain white hitherto
employed.

Le Gascon had many imitators in all countries, the
Magnus. best of whom was probably Magnus of Amsterdam, who
bound for the ElzeViers and for Louis XIV., but the
increasing use of elaborately engraved rolls and of com-
plete stamps for the interlacings was fatal to the artistic
character of their work.

To the end of the century belong as collectors the
Marquis de Louvois, Fran9ois-Michel Le Tellier, whose
books are easily recognised by the three lizards in his
coat of arms, and Nicolas Fouquet, who often had
a squirrel besides his initials F.N. The College of
Jesuits had the books which they purchased with the
money given to them by him for the extension of their
library bound with the two <£</> interlaced, and this inter-

HISTORICAL SKETCH OF BOOKBINDING. 95

lacement distinguishes them from the books that be-
longed to Desportes.

The last part of the reign of Louis XIV. witnessed the Decline of

French bind-

steady decline of the art as a fine art. To that period ing-
belong the dentelle borders, made up of the i7th century
tools inspired from the motives of lace-work often very
delicate and of beautiful execution but without any
qualities of design. These are not seldom to be found jansenist

bindings.

inside the Jansenist bindings of the time, which were
entirely plain outside, but elaborately decorated within.
The name is taken from Cornelius Jansen, Bishop of
Ypres, the founder of an ascetic sect, who died in 1638.
Towards the end of the i yth century, indeed, there was
comparatively little decoration on books, but the binding
itself was much improved. One name stands out promi-
nently as that of the last fine binder who continued the
best traditions of this period. Luc-Antoine Boyet was L. A. Boyet.
made relieur du Roi in 1698, and kept that post for
thirty-five years, till his death in 1733, when he was
succeeded by Padeloup. He bound for Louis XIV.,
the Abbe' Fle'chier, the Comte d'Hoym, Phe'lypeaux de
la Vrilliere, Maurepas, Longepierre, the Marquise de
Chamillart, and Colbert, whose bindings, plainly marked

96 HISTORICAL SKETCH OF BOOKBINDING.

with his arms and his device of the serpent, are among
the best of the time, partly on acount of the clause in his
treaty with Turkey which entitled him to a choice of the
best morocco skins. Boyet is celebrated for his fine
doublures, which, if he did not introduce, he was cer-
tainly the first to popularise. The style of his work was
plain gold lines, enclosing the back and sides, with or-
namentation only at the corners and along the edges
connecting the corners, such ornamentation being still of
the Le Gascon type — a delicate embroidery of curve and
dot obtained by the use of fers pointill'es. His best
work, however, belongs to the next century.
English Some of the better English binding was done for

bindings of

the i7th James I. His books generally have heavy corner pieces

century.

and centres of arms, the rest of the side being diapered
with a single tool. They do not differ from the French
semis in character except that the thistle, the trident,
and other English symbols, give more of a native
appearance to the work. Two specimens of this work
may be seen in the MS. Department of the British
Museum. Francis Thynne's Plea between the Advocate
and the Antadvocate concerning the Bath and Bachelor
Knights, dedicated to the King, and dated April 2, 1605,

HISTORICAL SKETCH OF BOOKBINDING. 97

has the arms of the King in the centre, massive corners,
and is powdered with fleurs de lys. It is in light brown
calf, and is a fine piece of work. The other is a folio,
also in brown calf, and similar in design, the Jewell of
Aries, in seven books, by George Waymouth, dedicated
to James I., and a presentation copy to the King. The
diaper is a small lion rampant. In both the arms are
very ornamental, being surrounded by a festoon, in which
the emblems of the falcon and sceptre, the feathers, the
fleur de lys, the portcullis and the rose are all displayed.

A collection of English and Italian songs with music
is a small quarto in olive morocco, with the arms of the
King, heavy corners, and a diaper of the mullet, an effec-
tive tool often found on bindings of the time. It is seen
on another binding for the same King in the Printed
Book Department, Abbot's De Gratia et Preseverantia
Sanctorum, Londini, 1618, a quarto in white vellum.

The Museum is very rich in books bound for his
elder son, Henry Prince of Wales. He was a great col-
lector, like his tutor, Lord Lumley, who, no doubt, in-
stilled into him his love of books. Lord Lumley pos-
sessed many books from the library of Thomas Cranmer,
the main part of which had come into the hands of Lord

98 HISTORICAL SKETCH OF BOOKBINDING.

Arundel, his father-in-law. On the death of Lord Lum-
ley, in 1609, the Prince bought a large part of his
library, which he had rebound for his own, and so it
happened that the Cranmer books became part of the
Royal Collection to be given later on to the nation by
George II. Prince Henry's books have mostly very
large and bold corner stamps, such as crowned roses,
crowned lions, or fleurs de lys, and the arms in the
centre; the smaller ones have azured corners and the
feathers with "!CH DIEN" and "H. P." in the centre.
Though there is no attempt at design in the decoration,
they are fine in their striking and simple effect. Others,
done for Charles Prince of Wales, afterwards Charles I.,
are similar in character, but rather lighter, having scroll-
work suggestive of the Eve influence, and his arms,
with "C.P." Many of Charles II.'s books were bound
for him in France as gifts, but some of the English
specimens have plain panels with his crown cipher
between two palm branches ; and the British Museum,
among the numerous examples it possesses of MS. books,
has a fine sample of the cottage ornament done for him
in 1669.

The Fan A great many bindings of this century have the fan-
style.

HISTORICAL SKETCH OF BOOKBINDING. 99

shaped ornament which was so prevalent in Italy during
the i yth century, when the art had become decadent in
that country. Made up of very small tools in close com-
bination, which form a crowded central circular orna-
ment in the middle and semi-circular ones at the corners,
it sometimes has a rich effect, but there is no balance in
the design, the tools composing it being all minute, and
very poor in character.

We must not omit to mention a Scotch school of Scotch

bindings.

binding that did some very good work at the end of the
i7th century, and disappeared after the first quarter
of the 1 8th. The leather was most often blue and
somewhat over-elaborately covered with small leaves and
dots, but the designs are ingenious. Inferior examples
were produced down to 1750.

A far better type, and the one most distinctly native The Cottage
to England, though also used about 1630 in France,
is that known as the Cottage style, in consequence of the
lay-out being a pent-like arrangement of lines at top,
bottom and sides. In this type the spaces are filled in,
sometimes with the French sprays and branches in
combination with lace-work, sometimes with the small
tools used in the fan ornament ; little rings and scales-

H 2

ioo HISTORICAL SKETCH OF BOOKBINDING.

work are also very frequent in the filling up and are
particularly characteristic of the English school. With
reference to this work it may be noticed that English
binding suffered greatly from the inferiority in design
of the tools used ; the only wonder is that so many
of the bindings look so well as they do, for on analysis
of the designs it may be seen with what poor material
they were composed. The art of combining tools to pro-
duce a good effect was also of the most elementary kind,
and they often appear to be thrown on almost indiscrim-
inately. Oxford and Cambridge adopted the Cottage
style very largely in the books they printed, which were
clothed by their own binders.

The chief private collectors of this time were Bishop
Cosin, for whom Hugh Hutchinson bound, the Earl of
Oxford, and the Lord Chancellor Clarendon whose binder
was Notts. Sir Kenelm Digby can hardly be included, as,
when exiled to France after the execution of Charles I.,
he had his books bound there, many by Le Gascon ;
and when he returned to England at the Restoration, he
left his collection in France, where, on his death in 1665,
it was dispersed. His books have his arms and those of
Venetia Stanley, his wife.

HISTORICAL SKETCH OF BOOKBINDING. 101

Other materials besides leather were largely employed
during the i6th and i;th centuries. Silk, velvet and
embroidery which had been in use from a very early
period were extensively used for royal bindings from the
time of Queen Elizabeth, and throughout the Stuart period,
particularly on books of devotion. Ornaments from the
goldsmith and enameller also continued to overlay bind-
ings till the end of the iyth century. The tortoiseshell
covers edged and clasped with silver which are a special
feature of the late iyth century are probably of Dutch
workmanship. Specimens of these may be seen both in
the British Museum and at South Kensington.

Embroidery, indeed, applied to this use was almost Embroidered

bindings.

exclusively an English taste, and nowhere are such fine
specimens of needle-worked bindings to be found as in
England during this time. Silks of exquisite colours,
gold and silver thread, bullions and pearls, delicately
and intricately woven, combine to give richness of colour
and splendour of effect. The British Museum possesses
many specimens, and the University Library at Cam-
bridge has two velvet bindings, one embroidered and
one gold tooled which cover Bacon's works, and were
presented by the author to the Library.

SANTA BARBARA STATE COLLEOE LIBRARY

102 HISTORICAL SKETCH OF BOOKBINDING.

The name of the Ferrars of Little Gidding, must not
be omitted in an account of the binding of this time.
The life of Nicholas Ferrar has been written several
times, and for many years the exact nature of the
" Protestant Nunnery " as it was called of Little Gidding
gave rise to much controversy.

Born in 1592 he was a man of distinguished piety from
his earliest childhood, who after leaving Cambridge
travelled for about five years in Europe for the sake
of his health, and acquired during that time much learn-
ing of very varied kinds.

His connection with the Virginia Company is a very
interesting one, but it must suffice to say here that on his
return to England in 1619 he was employed as King's
Counsel to conduct its affairs when threatened by the
conspiracy which finally overthrew it. He remained in
the position of Deputy Governor till 1624 when it was
dissolved by the king, and Ferrar, whose reputation
all over the country had become very great, was then
elected to Parliament. Here however he remained but
a short time, and after buying the lordships of Little
Gidding in Huntingdonshire he carried out his intention,
conceived many years back, of retiring from the world

HISTORICAL SKETCH OF BOOKBINDING. 103

and leading a religious life. Thither he took with him
his mother, his brother John, his sister Mrs. Collet, and
numerous nephews and nieces. At Little Gidding the
routine was ordered mainly with a view to a religious
life, and was superintended entirely by Nicholas as prin-
cipal, but what is of interest in this particular connection
is that it was conceived in no narrow spirit, as the
following extracts show : —

" And for the variety of employments, Nicholas Ferrar
entertained a bookbinder's daughter of Cambridge to
learn of her the skill and art of bookbinding and
gilding, and grew very expert at it, as the king, having
received books of her binding, said he never saw the
like workmanship." — Life of N. Ferrar, by his brother
John. J. E. B. Mayor's edition, Cambridge 1855.

And again: — "Some therefore spent part of the day
in perfecting their harmony on the Scripture, or getting
it by heart, others practising their singing or playing on
instrumental music, some learning to write fair hands or
else to cipher, some of them exercising their humility
and diligence in gilding and binding of books, for he
desired every one that would should be taught a trade.
Accordingly he entertained a Cambridge bookbinder's

io4 HISTORICAL SKETCH OF BOOKBINDING.

daughter that bound rarely to show them that piece of
skill."— Life of N. Ferrar, by Dr. Jebb. J. E. B.
Mayor's edition, Cambridge, 1855.

It was no doubt for the binding of the Harmonies that
the craft was learnt, and a brief account of what these
were may be interesting. They were contrived with a
view to bring together the accounts given by the different
evangelists of the various actions or doctrines of our
Lord in such a manner that they might be read either as
one connected history, or as related by any one writer.
Capt. J. E. Acland-Troyte thus describes the manner of
their construction in a paper in The Library, September,
1890. " Fasting-printing was the process by which they
were produced. Nicholas Ferrar set apart a large room
for this purpose and here he spent a part of every day
directing his nieces, the Miss Collets and the Ferrars,
how they were to arrange the verses or lines so as to
perfect a chapter or subject ; the Gospel history being
divided for this purpose into 1 50 heads. First they cut
the particular passages out of the printed copy roughly,
and laid them in their places on large sheets of strong
paper, and when the subject was complete each piece
was neatly fitted to the next belonging to it, and pasted

HISTORICAL SKETCH OF BOOKBINDING. 105

evenly and smoothly together, and kept in its place by
the help of a rolling press.

Nearly all the volumes are illustrated, every page
being embellished with one or more engravings. These
pictures were collected by N. Ferrar in his travels on the
Continent and during the years 1613 — 1618, and are
doubtless very valuable, as it is stated he secured the
prints of the best masters and let nothing of value escape
him."

The first Harmony was no doubt intended as an aid
to the religious instruction of the community ; but
Charles I. having known Nicholas from his active public
life, heard of his new activities and borrowed this con-
cordance for his inspection. When he returned it some
months later it was to order a copy for his own use.
This order was carried out with such promptitude
that we read in John Ferrar's life of his brother,
"Before the year came about, such diligence and ex-
pedition was used that a book was presented to his
majesty being bound in crimson velvet and richly gilded
upon the velvet, a thing not usual." King Charles then
ordered one to be made for him of the Kings and
Chronicles, which was " bound curiously in purple velvet,

106 HISTORICAL SKETCH OF BOOKBINDING.

and that also most artificially gilt upon the velvet in an
extraordinary manner."

There is no doubt that this patronage of the king
gave a sort of fashion to these Harmonies, and that
the community would have made many more than
they did, had not their establishment come to an un-
timely end.

The strictness of their life gave rise both to curiosity
and censure, and in 1647 or 1648 the soldiers of the
Parliamentary party plundered the house and church and
ruthlessly destroyed many valuable works, the family
alone saving themselves by flight. The most important
point to us is to discover the nature of the bindings done
by the ladies of Little Gidding. It has been the custom to
assign embroidered covers of a certain type to them, but
there are no grounds whatever for this opinion, except
that we know they decorated their church with needle-
work. Without doubt one special type of their binding
is mentioned in the extracts given above, i.e. velvet
gilt-tooled or stamped. Captain Acland-Troyte's re-
searches have resulted in the discovery of the where-
abouts of eleven of the Harmonies which are fully
described in the Arcfueologia of 1888, and of these six

HISTORICAL SKETCH OF BOOKBINDING. 107

are in leather gilt-tooled, four in velvet gilt-tooled and
one in red parchment with the four corners and centres
of the two covers ornamented with designs in open work
white parchment stuck on and gilded.

The British Museum possesses three Harmonies, two
in the Printed Book Department, and one in the MS.
Department. The most ornate is The Harmony of Hie
Four Evangelists, compiled for Charles I. It is a large
folio in blue leather tooled all over. A broad-banded
diamond panel contains a circle ornament surrounded by
hearts, a segment of this is found at each corner, and the
whole field is diapered with small tools and larger ones
placed at intervals.

The other in the Printed Book Department is also a
Harmony of the four Gospels diapered with a large
azured diamond, the spaces between being filled in with
a small tool. This style is met with on other books of
the time besides the Harmony. There were three ex-
hibited in the Burlington Club in 1891. In the MS.
Department is The Book of Kings and Chronicles. The
binding is comparatively simple. It is in blue leather
like the others tooled all round with gold lines at inter-
vals of half an inch, each panel having an ornament at

io8 HISTORICAL SKETCH OF BOOKBINDING.

the angles. All these books were presented to the
Museum by George II. and sent direct from Windsor.

It may be observed that the description of the bind-
ings given by John Ferrar does not accord with the
bindings themselves so far as we can compare them with
those of the extant books. The explanation may be
that the compiler of the notes published by Dr. Mayor
was not accurate in his account. The life is not a
formally written work, but taken from Baker's MSS.
headed Some directions for collecting materials for the life
of Nicholas Ferrar, &c. The account of the Harmonies
was probably written in 1653, or twenty years after the
books had left Gidding, so that a mistake in assigning
the right details of the work to the different books may
be excused, especially as there were books bound in
velvet at a later date.

There is however another explanation, and that is that
the leather bindings had loose embroidered covers to
which the descriptions refer, and which have since been
lost.

In a review of English binding up to this time
we are struck by the fact that though the names of
certain English binders are known, it is impossible to

HISTORICAL SKETCH OF BOOKBINDING. 109

connect many books with their names, when we come to
the period of gilt bindings. Thomas Berthelet is called
printer and binder to Henry VIII. and Edward VI., but
he was only an employer of workmen for covering the
books he printed. John Gibson, of Edinburgh, was the
appointed binder to James VI. when King of Scotland
in 1581. Robert Barker and John Norton were his
nominal binders after his succession to the English
throne, though, like Berthelet, they were only employers.
Samuel Mearne worked for Charles II. But so long
as no bindings can be identified as their work, their
names are of little interest.

In the 1 7th century, then, there was a certain amount
of good binding done in England but chiefly in imitation
of French models. The Grolier style took but little
hold of English taste ; the semis of the royal Stuart
bindings lacked the finish of those done for Henry IV.
and Louis XIII. ; the Eve style was copied with least
success of all, but the plainer De Thou or Bourbon
models were capable of more satisfactory reproduction,
and consequently the end of the period can show excel-
lent examples of that school.

To sum up, during this period of two centuries,

I io HISTORICAL SKETCH OF BOOKBINDING.

English bindings admit of the following classification :
(i) Those in material other than leather, and often
decorated with enamels and gold and silver, pierced and
engraved ; (2) Stamped vellum and calf bindings ; (3)
The Venetian-Lyonese work ; (4) Occasional specimens
of French-Grolier work, very frequent ones of the French
semis, and some very good imitations of Le Gascon, done
between 1660 and 1720, which delicate style, curiously
enough, was the most frequently imitated of all French
work : (5) The cottage ornamented bindings — the one
distinctly English style belonging to the 1 7th century.

CHAPTER III

WITH the 1 8th century in France, both binders and French bind-
ing of the
collectors increased prodigiously in number. We have l8th century

said that the best of Boyet's work comes into this time ;
he was followed by his son Etienne Boyet, Duseuil,
Antoine Michel Padeloup, Louis Douceur, Pierre
Lemonnier, Anguerrand, the Deromes, and Jean Paul
Dubuisson, binder to the Duke of Orleans. Mosaics
of inlaid leather were very numerous ; those of Padeloup
being especially important.

We have no longer to notice any royal bindings, kings
had ceased to lead the way in art and letters, and
binding, like other things, was becoming democratic.
On the other hand, the names of collectors are legion.
Mdme. de Chamillart, wife of the finance minister of Mdme. de

Chamillart,

Louis XIV., had her books bound by Boyet and 1657-1731.
Padeloup, with her arms in the middle, and two C.'s

112 HISTORICAL SKETCH OF BOOKBINDING.

erre. interlaced in the corners. The Baron de Longepierre
had written many tragedies none of which had met with
any success, until the Medea brought him a very
temporary renown. He signalised his triumph by using
the sign of the golden fleece henceforth on all the books
in his library. The Medea has been long since forgotten,
but his books plainly bound with the fleece at the four
corners and occasionally between the bands at the back
have given him an unexpected reputation and one which
is likely to be permanent. Numerous bindings with
this sign are in the market, but it is only occasionally that
Comtesse a genuine Longepierre is met with. The Comtesse de

de Verrue.

1670-1736. Verrue had many of her books quite simply bound ;
others with her arms and the name Meudon, where she
kept her library, in gold. The Count d'Hoym, Saxon
Ambassador at Paris to Louis XV., had his books
stamped with his arms. The Due de la Valliere had an
important collection. Much sought after arevbooks that
have in a decorative oval the inscription "Ex Museo
Girardot de Prefonds." It was the period, too, of the
femmes bibliophiles: every woman of fashion had her
library ; the daughters of Louis XV., Marie Adelaide,
Victoire and Sophie had each her books bound in

HISTORICAL SKETCH OF BOOKBINDING. 113

different coloured moroccos : red for the elder, olive
and citron respectively for the others. Mdme. de
Pompadour's books numbered nearly 4,000. They are
distinguished by three castles in her arms ; and Mdme.
du Barry, though she could hardly read, made a point of
following the fashion in books, and had hers bound with
her arms and the motto " BOUTEZ EN AVANT." Bisiaux's
only title to fame is that of being her binder.

We will take the chief binders of the i8th century as
they succeed each other, and as far as possible give some
characteristics of their style and work.

Luc Antoine Boyet worked for all the great collectors, L. A. Boyet,

1680-1733.
for Flechier and Colbert, for the Comte d'Hoym and

Bellanger, for Longepierre and Madame de Chamillart.
He is credited with having first instituted the doublures,
but Gruel connects the name of Florimond Badier with
this innovation. His strong point lay in forwarding, his
mode of decoration being mostly very simple, and consist-
ing principally of a framework of lines, the angles and edges
only being ornamented, a style which even in the present
day forms the main stock in trade of the ordinary binder.

So much confusion has always surrounded the name DU Seuii,

1673-1796.
of Du Seuil that it may be useful to separate as far as

H4 HISTORICAL SKETCH OF BOOKBINDING.

possible fiction from fact, and state clearly when the
fiction arose, and what the facts are that have been
recently established with regard to the existence of Du
Seuil and his period of work.

The style always spoken of as the " genre Du Seuil "
consists of a double framework formed by a delicate three-
lined fillet or roll, the inner frame having a fleuron at the
angles. This ornament is always of seventeenth-century
character, and is very often a small vase. Books bound
thus are mostly in red morocco, and some have a
doublure or morocco lining, with a design similar to that
on the outside. It is a style that predominates on the
bindings of the seventeenth century, on the books issued
from the Elzevier press, and on the works that composed
the less ornamental portion of the libraries of Mazarin,
Colbert, Kenelm Digby, Count d'Hoym, and others.
It is impossible that Augustin Du Seuil, born about
1673, should have originated a style that prevailed
between 1630 and 1680, and probably constituted the
stock pattern of the majority of binders of that time.
Assuredly the name of the originator is not known, nor
is it, indeed, likely to be discovered, considering the
dearth of signed bindings of the period.

HISTORICAL SKETCH OF BOOKBINDING. 115

How, then, arose the tradition that associates the
style described above with the name of Du Seuil, and,
moreover, affixed, to that name the qualification of Abbe' ?
The name was apparently first heard of in 1724, when
the library of Count Lome'nie de Brienne was sold in
London on April 24, 1724, by James Woodman. This
catalogue may be seen in the British Museum, and the
title-page runs thus : "A Catalogue of the Library of his
Excellency Louis Henri de Lomenie, Count de Brienne,
Secretary of State to Louis XIV., and Ambassador at
Rome, belonging to his son the late Bishop of Coutance
in Normandy." London, 1724, 8vo., pp. vii., 143. In
the preliminary description we read : " The books are in
very fair condition, and several hundreds of them have
been new covered in morocco by Monsieur 1'Abbe du
Seuil, and the collection is as entire as it first came
over ; " and throughout the list, against the names of
certain individual books is to be found " Corio turcico
compactum, per Abbatem du Seuil ; " or if the book
was in French, " Relid en maroquin, par PAbbe' du
Seuil ; " and if in English, " Nicely covered in morocco
by the Abbd du Seuil." The sale of this fine library
attracted great attention, for the taste for French bind-

i 2

n6 HISTORICAL SKETCH OF BOOKBINDING.

ings had developed in this country, and according to the
Memoires inedits Louis Henri de Lomenie Comte de
Brienne, 1828, 8vo., vol. il, p. 235, it had cost its owner
80,000 livres.

These entries, then, constitute the only foundation for
the tradition that there was sometime an ecclesiastic who
amused himself in his leisure time by doing elegant
bindings, and that such bindings were in the style already
described. M. Gruel says that he has minutely searched
the three volumes of the Catalogue de la bibliotJieque de
Lomenie de Drienne, edited with great care by Laire and
De Bure, and that he has found none of the above
inscriptions, so that either they were not on the books at
all, or if they were they escaped the notice of these
editors. If we adopt the latter alternative, the recent
suggestion of Mr. Quaritch may be considered. It is
that the Count, in sending his books to sale, mentioned
that certain of them were bound by A. du Seuil, mean-
ing Augustin du Seuil, whose reputation was then
established, and that the compiler of the catalogue
expanded "A," into "Abbe?' But Louis Henri de
Brienne died in 1698 ; therefore if A. du Seuil did any
work for him it must have been as a young man of

HISTORICAL SKETCH OF BOOKBINDING. 117

twenty-five, who could hardly have done " several
hundreds" of books, unless, with a view to the words
" new covered," we admit the possibility of a portion of
the library having been dealt with by A. du Seuil after
the Count's death,rand while still in the hands of his son,
who had inherited it. In view of these facts we must
pardon the Baron Pichon, who, in his interesting life of the
Comte d'Hoym, vol. i., p. 162, indignantly ascribes the
fable of the Abbe binder to the imagination of the English.

Before we pass from this imaginary Abbd to the real
Augustin du Seuil, we must note the astonishing way
in which the tradition has been adopted in France as
well as England. Charles Nodier seems to have been
the first to spread it in France. In one of his papers
relating to books and binding he says, "On croit que
Du Seuil e'tait un eccle'siastique de Paris." Fournier,
in his L'art de la reliure en France, Parisj 1886, p. 208,
repeats the same statement on Nodier's authority, and
devotes several pages to a discussion of the habit of
priests and leisured nobles adopting trades as a pastime.

With us the story has been adopted with more excuse
in consequence of the English catalogue of the Lome'nie
sale. Hannett, in his History of the Art of Book-Binding,

ii8 HISTORICAL SKETCH OF BOOKBINDING.

London, 1843, p. 193; and Edwards, in his Memories
of Libraries, vol. ii., p. 977, London, 1859, as well as
later writers, have all passed on the fable. It is time
that the confusion was cleared away, and that book-
sellers gave up describing in their catalogues all books of
the 1 7th century decorated with rectangular fillets and
corner ornaments as " in the style of Du Seuil."

We will now pass on to some account of the binder to
Louis XV. — Augustin du Seuil. The following biograph-
ical details are found in Jal's Dictionnaire critique de
biographie et d'histoire^ 8vo., Paris, 2nd edition, 1872 :
His father, Honord du Seuil, was a Proven£al shop-
keeper in a village of the province of Marseilles, called
Meusnes, evidently of slight importance, since the name
is not found in any geographical dictionary. Honore
married Elizabeth Billon, and their son, Auguste, was born
about 1673. It ig not known how or when he came
to Paris, nor what master-binder taught him his trade ;
but it is more than probable that he served his appren-
ticeship to one of the Padeloup family, for on Novem-
ber 23, 1699, he married Frangoise, daughter of Philippe
Padeloup, aged twenty-five years according to the
marriage register of St. Severin. By her he had seven

HISTORICAL SKETCH OF BOOKBINDING. 119

children, no one of whom, so far as we know, followed
in his father's footsteps. His name is spelt in his
signature A. Duseuil; other signatures show the Seuil
separated from the article by a capital S. Lesne speaks
of him as Desseuil, and M. Libri, probably misled by
Lesne', in the catalogue of his library sold in London in
1859, as De Seuil. In the appointment as Court binder
his name is spelt as De Sueil, but at that time ortho-
graphy was still in an unsettled state, and differences in
the mode of spelling Christian names are frequently
met with. It is probable that his own signature above
mentioned shows the correct way of writing the name.

If any confirmation is wanted of the reputation of Du
Seuil during his lifetime, it may be found in the fact of
his appointment by King Louis XV. on February 26,
1717, as Court binder, without waiting for any vacancy
to take place, for Louis Du Bois already held the post,
and did not die till February 15, 1728, but as it were in
anticipation.

The first letters patent run thus :

"BREVET DE RELIEUR DU ROY POUR
AUGUSTIN DE SUEIL."

120 HISTORICAL SKETCH OF BOOKBINDING.

" Aujourd'hui 26" Fevrier 1717. Le Roy estant a
Paris, ayant dgard aux tdmoignages avantageux qui luy
ont estd rendus de la probitd et capacite" d'Augustin de
Sueil, Maistre Relieur a Paris, et voulant en cette con-
side'ration le traitter favorablement, Sa Majeste, de 1'avis
de Monsieur le due d'Orleans, son oncle Regent, a retenu
et retient ledit de Sueil en la charge de 1'un de ses
Relieurs ordinaires. Pour par lui en faire les fonctions,
en jouir et user aux mesmes honneurs, prerogatives et
privileges dont jouissent les autres Relieurs de Sa
Majest^. Et pour assurance de sa Volonte, Elle m'a
command^ d'expe'dier aud. de Sueil le present Brevet qu'
Elle a signd de sa main, et fait contresigner par Moy,
Con" Secretaire d'Estat et de ses commandemens et
finances."

After the death of Louis Du Bois, eleven years later, Du
Sueil succeeded regularly to the office, as is shown by the
second brevet, in which he is formally installed, and
which runs as follows.

" Aujourd'huy 15 FeVrier 1728. Le Roy estant a
Versailles, bien inform^ de la capacite d'Augustin de
Seuil et de sa fidelite' et affection a son service, sa
rnajest^ 1'a retenu et retient en la charge de 1'un des

HISTORICAL SKETCH OF BOOKBINDING. 121

Relieurs de sa Maison vacante par le de'ceds de Louis
du Bois, dernier possesseur d'icelle ; Pour par led. de
Seuil 1'avoir et exercer en jouir et user aux honneurs,
autorite's, privileges, franchises, liberty's, gages, droits,
fruits, profits, revenus et emolumens accoutume's et y
appurtenant vels et semblables qu'en a jouy ou du jouir
led. du Bois et ce tant qu'il plaira a Sa Majeste", laquelle
pour assurance de sa Volontd . . . etc."

He thus occupied the post of Court binder for twenty-
nine years, and on his death in 1746 was succeeded by
Pierre Anguerrand.

We know, too, that together with Boyet and Padeloup
he did the Count d'Hoym's best work, for in the daybook
of the Count, cited by the Baron Pichon, there is an
entry of ninety-six livres paid to him for binding on
August 24, 1725. His name appears likewise in the
catalogue of the Abbd de Rothelin, and in that of M. de
Selle; and in the certificate of his wife's death he is
described as " Relieur de Monseigneur et de Madame la
Duchesse de Berry."

There is no authentic specimen of his work, so that
everything concerning his style is mere conjecture, and
we do not know whether he was an imitator of the earlier

122 HISTORICAL SKETCH OF BOOKBINDING.

masters, or whether he originated a style of his own. It
is most probable, though, that he worked after the fashion
of Boyet and Padeloup, and there is work ascribed to
him similar in character to the former, but more ornate,
and with wide dentelle borders.

M. P. Deschamps, under the pseudonym of Jean de
Poche, has published in the Miscellanies Bibliographiques,
Rouveyre, 1879 and 1880, different bills of binders,
among which is one of Du Seuil. It contains the
detailed account of sundry bindings supplied in 1740
to M. Anisson-Duperron, director of the Imprimerie
Royale.

It is a curious fact that the name of Augustin du Seuil,

though he occupied the post of royal binder for so many

years, has not been met with in any book of statutes,

annual, or registered trade-list of the time.

Antoine Padeloup, called Le Teune, succeeded Boyet as

Michel

Padeloup, rcHeur du roL and was one of a family that furnished
1685-1758. J

many binders in this century. The characteristics of
Padeloup, whose work has always had many admirers, is
the beauty of his leather, the perfection of his forwarding,
and the taste shown in his decoration. His mosaics must
not be considered, for, though greatly admired for the

HISTORICAL SKETCH OF BOOKBINDING. 123

brilliancy of their colouring, the tile-like design of their
compartments is often very feeble. Most of Padeloup's
morocco work had excellent doublures, of which the
dentelle borders are based on the iyth century tools,
which were gradually becoming heavier in style. As a
binder, Padeloup was rightly celebrated. He worked
for Comte d'Hoym, Mdme. de Pompadour, Bonnier de
la Mosson, and the chief collectors of the time, and was

succeeded as relieur du roi by Louis Douceur, whose Louis Dou-
ceur, 1737.
work, though in the same style, is heavier and somewhat

clumsy. Padeloup was the first who employed for gold
work large engraved plates, which were used in an arm-
ing press. He was also the first binder who used an
etiquette with his name.

Jean Ch. Henri Lemonnier, binder to the Duke of J. c. H.

Lemonnier,

Orleans in 1757, was one of a large family of binders. X737-
He is celebrated for his elaborate mosaics, representing
allegorical scenes, landscapes, and bouquets of flowers,
which are rather tours de force than successful examples
of decorative binding. He was succeeded by Tessier.
Frangois la Fert^ bound for Louis XV. and for La
Valliere.

The Deromes supplied more binders to this period

124 HISTORICAL SKETCH OF BOOKBINDING.

than any other known family. Jacques Antoine was the

contemporary of Padeloup, but it was probably his son,

N. D. De- Nicolas Denis, about 1761, who once more gave to the

rome, 1761.

art the distinction of a new style. The continuity of the
traditions of Padeloup in his work may be due to his
having purchased part of the latter's plant. His dentelles
& Foiseau were imitations of those of Padeloup, who first
used the bird-tool, which is much finer in his work than
in the imitations of Derome le Jeune. He also did
mosaics — a taste for which was the fashion of the age —
but his dentelles are what made his reputation. They
are distinguished from preceding ones by not being
made up of the same tools in repetition, but in combina-
tion, thus affording much more variety. The types of
his tools, which were lightly shaded, were taken from the
great metal workers of the time, and may be seen in the
balconies and staircases of the houses of the period.
We see in his work and in that of his predecessors how
the tools employed had been gradually getting thicker
and heavier, until in those of Dubuisson, who had the
largest collection of the century, they are distinctly solid
in character. What constitutes a style, says Marius
Michel, is the repetition of the same ornamental forms

HISTORICAL SKETCH OF BOOKBINDING. 125

in all crafts and industries of a period. The i8th century
style was a distinct one, and the motives of the Derome
and Dubuisson dentelles may be found on all the
pottery and tapestry and furniture of the time.

Jean Paul Dubuisson was engraver painter and tool- j. p. Dubuis-
son, 1726-
cutter, as well as binder and gilder. He was relieur 1759-

du rot in 1758, and executed large and massive den-
telles.

Three other names are worthy of mention. The
family of Anguerrand supplied many binders, but Pierre Pierre

TT i i r i -»*- • i Anguerrand,

was the most important. He bound for the Marquis de 1748-1777-
Paulmy, between 1770 and 1775.

Jean Pierre Jubert is supposed to have been binder to j. p. jubert,
Marie Antoinette ; he is known chiefly for his almanacks
in the dentelle style.

Alexis Pierre Bradel, nephew and successor to Derome, A. p.Bradei,

1772-1809.

worked in his manner, but is best known as the in-
ventor of a temporary mode of binding for valuable
books which enabled them to be used without being
forwarded.

French authorities in binding state that with Derome
began the definite deterioration of binding, especially in
the forwarding. They say that he cut down not only the

126 HISTORICAL SKETCH OF BOOKBINDING.

books entrusted to him of his own time, but the most
valuable works of the past, thereby setting a fashion of
smooth edges which lasted until Thouvenin, who was the
first in the next century to reform forwarding and culti-
vate a taste for large margins. He did of course a large
amount of work, and this may be true of a part of it, but
it is certainly not true of a great deal to be seen in this
country. Derome introduced the use of hollow backs,
in which the leather is not put directly on to the book.
This, together with the deterioration of leather that took
place at the same time, caused binding during the last fifty
years of the 1 8th century to reach the lowest ebb to which
the art was ever reduced. The above names, except that
of Thouvenin, who belonged to the Empire and the time
of Louis XVIII., are the last that appear in the list of
French binders, before their craft was submerged during
the time of the Republic.
Bindings of The French Revolution was fatal to all forms of

theRepublic

J793- luxury in art, and the bindings of the time have nothing

on them but patriotic or revolutionary emblems, such as
the phrygian bonnet, a sheaf of spears or the figure of
Liberty. The Carnavalet Museum has an interesting
collection of the tools used on books of this period.

HISTORICAL SKETCH OF BOOKBINDING. 127

We shall consider the restoration of French work
after 1820 in a few remarks dedicated to binding in this
century.

An impetus was given to English binding about 1720 English

binding of

by the patronage of Robert Harley, first Earl of Oxford, the i8th

' century.

who founded an important library, which was continued
by his son. Eliot and Chapman were his binders, and
their style, since known as the Harleian style, consisted The Har-

leian style,

of a broad tooled border with centre panels, in which the ra-
pine-apple figures as a prominent tool. The leather
used on the Harleian books was mostly red, but was very
inferior in quality. The borders, unlike Derome's Van
Dyck style, were always straight and without articulation,
and the centre ornament was generally diamond in
shape. The tools that composed both borders and orna-
ment were small, and combined without much grace or
skill.

Thomas Hollis had emblematic tools cut for him by Thomas

Hollis.

the artist Pingo, which he used on the works to which he
considered them suitable ; the caduceus of Mercury is
found on books of oratory, the wand of ^sculapius on
medical books, the cap of liberty on patriotic books, the
owl on works of philosophy, and the pugio, or short

128 HISTORICAL SKETCH OF BOOKBINDING.

Roman sword, on military subjects. He left his name
and property to Thomas Brand, who continued this style
of binding.

French At the end of the century the French emigrants in-

emigrant
binders. troduced their own style. Distinguished amateurs, who

had learnt the craft as an amusement, now practised it
to support themselves, and the names of the Comte de
Caumont, the Comte de Clermont de Lodeve and the
Vicomte Gauthier de Bre'cy appear in the records of the
time, besides that of Du Lau, the friend and bookseller
Roger of Chateaubriand. There succeeded to the Harleian

Payne, b.

1739, d. 1797. binders Roger Payne, whose name is associated with a
particular English style. Mr. W. L. Andrews, of New
York, has lately collected in a little book all that is
known of the life of this binder, and it is from the
material accumulated by his careful research that the
following facts are taken. He learned his craft under
Pote, the bookseller to Eton College, and when he came
to London was first in the service of Thomas Osborne,
a dealer in book rarities in Gray's Inn. He is then
found established in business for himself by the kindness
of one Tom Payne, whose shop at the Mews Gate was
for half a century, between 1740 and 1790, a sort of

HISTORICAL SKETCH OF BOOKBINDING. 129

literary coffee house in London. The portrait that we
are now familiar with is from an etching done at the ex-
pense of this Tom Payne. In his later years Roger took
into partnership Richard Weir, whose wife is always known
as the most remarkable of book menders and restorers.
Many of the books in the famous library of Count
McCarthy, at Toulouse, were repaired by her, as were also
the parchments in the Record Office at Edinburgh. The
partnership of Payne and Weir was however of brief
duration on account of the intemperance of both.
Russia leather had come into use about 1730, and much
of Payne's best work is done in that, the rest being done
in straight grain morocco, generally dark blue, but very
often of a bright red. His tools were original in form,
and some say both designed and engraved by himself.
They consisted of crescents, stars, running vines and
leaves, acorns, and circlets of gold. These were placed
at intervals in the spaces to be decorated, and the field
studded with gold dots. He was the first English binder
who endeavoured to make his ornaments appropriate to
the character of the book on which he put them, and
his designs, though not important in composition, are dis-
tinctly original, and look well on the straight grain

K

130 HISTORICAL SKETCH OF BOOKBINDING.

morocco then in fashion. His backs were often richly
tooled, while the sides were almost plain ; and when the
inside joints were highly decorated, the outside was
generally very simple. Some fine Russia work is partly
blind tooled and partly gilt, giving an effect which might
well find more imitators. His end papers were nearly
always of a plain colour, and that colour often making a
most inharmonious contrast to the outside cover, purple
predominating. As a forwarder he was a good workman,
and the elaborate and original way in which he described
in his bills the details of the work he had to carry out on
a particular book have made them famous. He bound a
great deal for Earl Spencer, also for Dr. Moseley —
probably in exchange for medical advice — and for the
Duke of Northumberland. He did every part of the work
himself, and had he not lived in intemperance and
poverty, might have proved himself a greater artist than
he did. As it is his work is distinctive and most unmis-
takable in style. Kalthoeber is supposed to have imitated
his plain bindings, but few attempted his ornament, and
thus, though his bindings are all unsigned, they are rarely
undetected by any one who has studied his manner.
Charles Lewis made the best imitations of his ornamental

HISTORICAL SKETCH OF BOOKBINDING. 131

work : but they are not to be mistaken by a practised
eye. He died in a little room in Duke's Court, St.
Martin's Lane, on November 20, 1797.

It remains only to say a few words about binding in Modem

binding.

this century, both French and English.

To the earlier part of the time belong to France,
Bozerian and Thouvenin, both good artists, and
Courteval, Lefevre and Simier, whose work was not in
any way remarkable. Up to the end of the last century,
skins had been tanned and dyed with great care ; from
the first years of the Empire, down to 1840, they under-
went quite a different treatment, greatly deteriorating
thereby; sheepskin, grained to imitate morocco, was
even used instead of goatskin, and the forwarding was
of the most slovenly description. After 1830, amateurs
of binding came to the front again, and the art rapidly
improved. Purgold, the contemporary of Simier and
Thouvenin, began to reform the forwarding, and from his
workshop came Bauzonnet, to be known later, and es-
pecially in conjunction with Trautz, as among the chief
of French modern binders and finishers. It was Pur-
gold who reintroduced small tools in combination, instead
of blocks, which had prevailed for some time. Purgold

K 2

132 HISTORICAL SKETCH OF BOOKBINDING.

bound with flat backs, Bauzonnet rounded his books
much more, while Trautz carried the rounding to excess,
thereby making his books open with much difficulty, a
fault which is characteristic of the majority of recent
French work, excellent as it otherwise is in technique.
When Trautz became head of the business he reserved
the finishing to himself, leaving the forwarding to skilled
men under his superintendence. Cuzin was one of his
workmen, and Thibaron worked upon his traditions.
Lortic, a rival of Trautz and Bauzonnet, was an excellent
binder, and more original than the former in his designs.
Nie'dre'e, Duru and Cape, contemporaries, must likewise
be mentioned, and Chambolle who succeeded Duru.
But the criticism to be passed on modern and contem-
porary French binding, which is perfect in technique
and has attained the highest point of finish, is that it
copies slavishly the old traditions in design, and shows
not the slightest tendency towards originality, the motifs
of the work being chiefly taken from the last century.

In England, a little colony of Germans — Baumgarten,
Benedict, Walther, Staggemeier and Kalthoeber — con-
tinued the traditions of Roger Payne ; though it was
Charles Hering who worked chiefly in his style. Kal-

HISTORICAL SKETCH OF BOOKBINDING. 133

thoeber's work has nearly always a star or circular orna-
ment on the back; he also revived the practice of
paintings on the edges of books, underneath the gold, a
practice carried out still more extensively by Edwards, a
binder in Halifax.

Most of Edwards's work was done on vellum, and in Edwards of

Halifax.

1785 he took out a patent for his " Invention of Embel-
lishing books bound in vellum by making drawings on
the vellum which are not liable to be defaced but by
destroying the vellum itself." He thus describes the said
invention : " Having chosen a skin with a firm grain,
take off with a sharp knife all the loose spongy part of
the flesh, then soak the part to be ornamented with
water, in which a small quantity of pearl ash has
been dissolved, till it is thoroughly wet, afterwards press
it very hard, when it becomes transparent. In that
state it may be drawn upon, beginning with the
most light and delicate shapes, afterwards with the
stronger, and ending with the coarsest, because a rough
outline at first cannot be concealed with a fine finishing
or shading, as where the drawing is made upon the
surface which is looked at. When it is made a finished
drawing, it may be painted with strong opaque colours,

134 HISTORICAL SKETCH OF BOOKBINDING.

but in this case the shades must be painted first and the
lights afterwards. Copper plates may also be impressed
so as to have a similar effect. When the ornaments are
completed it must be lined with fine wove paper put on
with paste made of the best flour, and is then ready for
covering as other vellum books." On reading this it
does not perhaps at first appear that this style of decora-
tion is distinguished from others by its being underneath
the vellum — done in fact from behind.

In the British Museum may be seen the Prayer Book
of Queen Charlotte printed at the Baskerville Press in
1760, and elaborately decorated in the style above
described by Edwards in his specification. It has an
Etruscan border in blue and gold, festoons in colours
and arms in the centre, while the fore-edge is painted
underneath the gold with a sacred subject.
Etruscan John Whitaker initiated the style termed Etruscan, in

bindings.

which designs from the decoration of Etruscan vases were
copied in colours by means of acids instead of in gold.
To John Mackinlay, for whom Payne worked before
his death, most of these binders owe much of their
excellence.

Charles Lewis, in conjunction with Staggemeier, bound

HISTORICAL SKETCH OF BOOKBINDING. 135

most of the Althorp books, also those for Mr. Beckford,
of Fonthill. Dibdin was a great admirer of his work at a
time when the taste for books made his own writing on the
subject so popular. He says of Lewis that " he united the
taste of Roger Payne with a freedom of forwarding and
squareness of finish peculiar to himself." Lewis was
assisted by Clarke, famous for his tree-marbled calf, in
binding the library of the Rev. Theodore Williams, and
Bedford, the best of all English binders in forwarding,
did much important work for the late Mr. Huth.

In a general survey of binding from an artistic point
of view, it is not difficult to trace the phases through
which it passed, nor to see some of the chief reasons
for its decadence. We have emphasised the period
at which it attained its highest artistic point as, roughly
speaking, the first half of the i6th century, but this is solely
from the point of view of design — the technical qualities
being without any of the finish that distinguishes
later work. Many think the Eve and Le Gascon period
to have been finer, but the designs of those masters lack
the simplicity and dignity that distinguish the early
work. Ornamentation is too profuse, there is too great a
multiplication of detail, and too great a repetition of parts.

136 HISTORICAL SKETCH OF BOOKBINDING.

It will be observed, too, that as the mechanical aids
to the art grew in number, taste declined. When line
and circle constituted the chief elements of design, there
may have been occasional poverty of invention, there
was rarely error in taste and judgment. With the advent
of the tool cutter came the temptation to lavish decora-
tion without regard to balance of parts or appropriate-
ness of design. The foliated style gave ample scope for
this weakness, and much of the work of the Eve school
is an example of it. It is a relief to turn to the Bourbon
bindings, which may have been a reaction from the
excessive ornament, with their fine untouched spaces of
leather having as sole decoration the coats of arms of
their owners.

When highly decorative work again came into fashion,
we see little else than reproductions of the great models,
with often an extremely injudicious combination of
different styles. Padeloup, in France, and Payne, in
England, are the only binders who can be said to have
originated a new style.

Binding can never again become a fine art unless design
goes hand in hand with the execution which now leaves
nothing to be desired. For accomplished craftsmanship is

HISTORICAL SKETCH OF BOOKBINDING. 137

only admirable when it interprets happy invention. In
all departments of decorative art we see the same in-
ability to escape from the traditions of the past, but in
none has there been such servile copying of the old
models as in the decoration of books.

CONTEMPORANEOUS SOVEREIGNS IN FRANCE
AND ENGLAND.

FRANCE.

ENGLAND.

iSth CENTURY.

iSth CENTURY.

Charles VII. 1422
Louis XI. ... 1461
Charles VIII. 1483 .
. Jeane.d. of Louis XI.
( Anne, Duchess of
Louis XII. ... 1498 { Brittany
Mary, d. of Henry

Henry V 1413
Henry VI. ... 1422
Edward IV. ... 1461
Edward V. ... 1483
Richard III.
„ .„. /Elizabeth, d. of
Henry VII ... 1485 j Edward IV.

v VII. of England

i6th CENTURY.

i6th CENTURY.

/Claude, d. of Louis
Francis I. ... 1515! XII.
I Eleanor of Austria
Henri II. ... 1547 Catherine de Medici
. TT (Mary Stuart, Queen
FrancisII. ... I559J of Scotland

..... , ( Regency of Catherine
Charles IX .. 1^60 { F m* JB •

(Catherine of Aragon
Anne Boleyn
Jane Seymour
Anne of Cleves
Catherine Howard
Catherine Parr
Edward VI. ... 1547
Mary 1553 Philip of Spain

• 0°" ^ de Medici
Henri III. ... 1574 Louise de Vaude-

Elizabeth 1558

mont, called Louise

de Lorraine

1 Marguerite de Valois,

Henri IV. ... 1589! d. of Henry II.

1. Marie de Medici

i7th CENTURY.

i7th CENTURY.

{Anne of Austria, d. of
Philip III. of

James 1 1603 Anne of Denmark
Charles 1 1625 Henrietta of France

Spain
T • VTXT c f Maria Theresa, d. of
Louis XIV... 1643 ( phiHp IV of Spain

Commonwealth 1649
_, . TT ,, (Catherine of Bra-
Charles II. ... i66o| ganza

Philippe d'Orleans, grandson of Louis
XIII., Regent, 1715-1723.

(Anne Hyde
James II i68s< Maria Beatrice

V d'Este

William and

Mary 1689

William III.... 1694

i8th CENTURY.

iSth CENTURY.

T . VTT ( Mary Leczynska of
Louis XV. ... 1715 \ p i j

. (Prince George of

Louis XVI... 1774 | Austria"'0

Anne 1702-^ Denmark
(Sophia Dorothea of
George I I7i4| fell

Louis XVII. 1793 Never reigned

George II. ... 1727 Caroline of Anspach

Republic I... 1793-1799-

TTT f. /Sophia Charlotte of
George III. ... i7MM£,klenb urK.Strelitz

TECHNICAL TERMS.

BLIND TOOLING
DENTELLE BORDER.
DOUBLURE . . .
END PAPERS . . .

FINISHING . . .
FORWARDING . .

GAUFR£ EDGES . .

GOUGE

PETITS FERS . .

POINTILLE . . .
ROLLS

SEMIS . . .
SQUARES . .
TOOLS .

Impressions of the finisher's tools without
gold.

A border, resembling lace work, finished
with finely-cut tools.

When the inside of the cover is lined with
leather it is called a doublure.

The papers placed at each end of the
volume and pasted down upon the
boards.

All ornamentation in blind or gold by means
of tools used in combination.

All processes through which a book passes
after sewing other than those of orna-
mentation by means of tools or rolls.

Impressions made with the finisher's tools
on the edges of the book after gilding.

A finishing tool forming the segment of a
circle.

Small hand tools used in finishing as distin-
guished from the stamps or blocks
worked in a press.

The dotted style of Le Gascon.

Wheels of brass, cut to any pattern, for
impressing the gold leaf on the leather.

A diaper design, made up of the repetition
of one or more small tools.

The portions of the boards that project
beyond the edge of the book.

Brass stamps used for impressing the gold
leaf on the leather.

APPENDIX I.

EMBROIDERED BOOK-COVERS.

THE subject of embroidered book-covers is but a very
small part of the far larger and more generally interesting
one of embroidery itself.

The history of the rise and fall of embroidery is as
interesting as the rise and fall of other arts. During
the Middle Ages it was as seriously pursued as any
of the higher ones that at various times and in various
places have been prosecuted throughout the ages. It had
its archaic stages, its season of fruition in complete
perfection, and finally its period of as complete debase-
ment.

No one has been able to trace its origin ; one might
indeed say with truth that, like certain other arts, it has

HISTORICAL SKETCH OF BOOKBINDING. 141

the distinction of having its beginning shrouded in
antiquity. The Old Testament, and especially Ezekiel,
is full of passages showing the skill of the Jews in
needlework — a skill which they are supposed to have
derived from the Egyptians, who excelled in embroidery
and introduced gold thread or wire into their work. All
the gold stitches came from Phrygia, and that country
was so celebrated among the ancients for its embroidery
that the Latins knew the work under no other name than
Phrygian, and the Roman Generals wore the " toga picta "
at their feasts — so called from the purple fabric being
covered with gorgeous embroideries. But the Chinese
used embroidery before the Phrygians, and beyond that
it is not easy to trace.

Babylonian bas-reliefs, Egyptian frescoes, Assyrian
stone fragments, Greek fictile vases, remains of Ro-
man villas and tombs — all testify to the existence of
embroidery as a fine art.

The classic writers are full of allusion to it. In Greece
it was highly honoured, for not only was its invention
ascribed to Athene — in itself a significant fact — but the
maidens who took part in the Panathenaic procession
embroidered the " peplos " or veil, upon which the deeds

142 HISTORICAL SKETCH OF BOOKBINDING.

of the goddess were wrought in gold. The references
throughout the Iliad and Odyssey are very numerous,
and we gather that in those days, as in the latter mediaeval
ages, it was the occupation of distinguished ladies when
their lords were at the wars. Even the fair Helen
herself is described in the Iliad as sitting apart engaged
on a work which portrayed the wars of Troy.

" Now Iris went with a message to white-armed Helen,
and in the hall she found her weaving a great purple
web of double woof, and embroidering thereon many
battles of horse-taming Trojans and mail-clad Achaians,
that they had endured for her sake at the hands of
Ares." And again in the Odyssey : " Helen stood by
the coffers, wherein were her robes of curious needle-
work, which she herself had wrought."

From the earliest times embroidery was devoted to
objects of ecclesiastical use. With the advent of the
Church came ample opportunity for the highest skill in
the decoration of priestly robes, altar cloths and hangings,
and from that date the art became historical. Whatever
may be thought of the value of the Church to humanity
in later times, it was for many centuries the school-
master and protector of the arts as well as of learning.

HISTORICAL SKETCH OF BOOKBINDING. 143

To her we owe that embroidery was kept alive during
the dark ages, for it was the work of the convents and
the convent schools. To the revolution that overthrew
her with the Reformation may be ascribed the debase-
ment of the art which, when it ceased to be demanded
for church decoration, became the plaything of princes,
exchanging its sacred symbolism for the sentimental
symbolism of corrupt courts, as it had once before
exchanged the classic symbolism of antiquity for that of
the Church itself.

If the Old Testament and Greek and Latin writers
impress upon us the importance with which embroidery
was regarded before the Christian era, still more
numerous are the mentions of it after that period. The
chronicles, the inventories of churches, the wardrobe
accounts of kings and queens, the literature of poetry
from Chaucer down to Taylor, the " water-poet " in
the 1 7th century, all abound with descriptions that
show the extent to which it was cultivated. Anastasius
has left a list of the embroidered gifts given by popes
and emperors to the churches from the fourth to the ninth
centuries, recording their subjects also. Church inven-
tories— minute in detail as to vestments — show that they

144 HISTORICAL SKETCH OF BOOKBINDING.

constituted the chief offerings of the high-born dames.
Wealthy penitents gave dedicatory needlework as drap-
eries for the images of saints, and from the different
chronicled accounts it is clear that before the end of
the 7th century ladies were skilled in the art.

Before that date there is but one authenticated name
— that of the Empress Helena, mother of Constantine,
who died in the fourth century, and is said to have
embroidered an image of the Virgin. The "opus
Anglicanum," of which we hear so much whenever
embroidery is written of, was certainly produced under
the Anglo-Saxons, and William of Poitou, chaplain to
the Conqueror, relates that the Normans were as much
struck on the latter's return into Normandy with the
splendid embroidered garments of the Saxon nobles as
with the beauty of the Saxon youth.

Although as far as book-covers are concerned we have
nothing to do with the "opus Anglicanum," it was so
curious and complicated a development of the art of
needlework that a few words may be given to it. The
term, though often employed for old English embroidery
of any kind, is in its true application limited to a class
of ecclesiastical work only in which the faces and inside

HISTORICAL SKETCH OF BOOKBINDING. 145

parts of the figures are worked in chain stitch in circular
lines, the relief being given by means of hollows sunk
with hot irons. Besides this attempt to reproduce the
effect of bas-relief in the embroidered figures, some give
as characteristics of the style the admixture of jeweller's
work in the borders, or imitation of it in gold thread ;
others the peculiarity of the " laid " stitches in gold which
so permeated the linen grounding as to give the look of
a material woven with gold thread. It first began to be
celebrated in the i2th century, and that its value was
excessive may be gathered from the Librate Roll of
Henry III., which states that in 1241 the King gave a
mitre so worked to Peter de Agna Blanca costing ^82,
a considerable sum according to present value. The best
specimens of this work are to be found on the Continent,
sent no doubt as gifts to popes or bishops before the
Reformation, or sold at that time of church plunder.
But the Syon cope, now in the South Kensington
Museum, is among the finest, and the account of it in
Dr. Rock's Catalogue of the Embroideries in the South
Kensington Museum, is most instructive to students of
embroideries.

That English work had a continental reputation is

L

146 HISTORICAL SKETCH OF BOOKBINDING.

shown by an anecdote related by Matthew of Paris : —
"About this time" (1246), he says, "the Lord Pope
(Innocent IV.) having observed that the ecclesiastical
ornaments of some Englishmen, such as choristers' copes
and mitres, were embroidered in gold thread after a very
desirable fashion, asked where these works were made,
and received in answer, in England. 'Then,' said the
Pope, ' England is surely a garden of delights for us. It
is truly a never-failing spring, and there, where many
things abound, much may be extorted.' Accordingly the
same Lord Pope sent sacred and sealed briefs to nearly
all the abbots of the Cistercian Order established in
England, requesting them to have forthwith forwarded to
him those embroideries in gold, which he preferred to all
others, and with which he wished to adorn his chasuble
and choral cope as if these objects cost them nothing."

In the first ages of the Christian era embroidery is
spoken of in contemporary literature as "opus plum-
arium," or feather work, of the meaning of which we
shall say more later on. But in mediaeval times it was
better known as " aurifrascum " or " aurifrigium," i.e., the
opus Phrygium, hence the name of orfrais or orfreys,
first found in Domesday Book, and often met with

HISTORICAL SKETCH OF BOOKBINDING. 147

afterwards in Chaucer and the Roman de la Rose.
These words mean generally borders, guardings, facings,
or any parts of a material in which gold thread was used.
The term embroidery is comparatively modern, and its
derivation doubtful, though ascribed generally to the
Celtic "broud," a prick, and "brouda," to prick, while
Barbaric Latin has "brustus," " brusdus," and "auro-
brustus."

Up to about the i3th century needlework was
entirely in the hands of cloistered women, being
considered a very serious art, a branch indeed of
painting; but from the Librate Roll of Henry III.,
which gives a list of embroiderers' names, we gather that
at that time men pursued it as well as women, and in
the 1 4th century one Stephen Vyne was so highly
commended that Richard II. and his Queen appointed
him their chief embroiderer, and Henry IV. granted him
at their decease a yearly pension in reward of his
skilful services. Thus from the extensive inventories of
cathedral vestments — Lincoln alone, for example, having
six hundred — and the Librate Rolls, which show the
enormous sums paid for them — hundreds of pounds in
our money not being thought too much for a single

L 2

148 HISTORICAL SKETCH OF BOOKBINDING.

vesture — we can gain some idea of the service of em-
broidery to the Church as the handmaiden of ecclesiastical
art. Is it surprising that so few of these costly
decorations remain, and that their intrinsic value rather
than their antiquity is the cause of their disappearance ?
Needlework, however, was dedicated to other services
besides that of the Church. Great ladies, at a time when
there was little else they could do, spun and wrought in
their castles throughout the days of chivalry. Mantles
of state, heraldic surcoats, scarves and banners occupied
their needles, as well as priestly vestments and the
adornment of altars. Some of the City Companies have
still the gorgeous palls which were lent to cover the
coffins of their liverymen ; the Fishmongers' is especially
notable, and the Sadlers' and Ironmongers' are also very
fine. Such fondness for costly raiment had crept in that
the statute of Edward III. against excess of apparel
enjoined that none whose income was below four
hundred marks a year should wear cloth of gold or
drapery enamelled or embroidered. These elaborate
raiments were faithfully depicted on the monuments
of the nth, 1 2th, i3th, and i4th centuries, so that
besides the written statement we have this more

HISTORICAL SKETCH OF BOOKBINDING. 149

trustworthy authority. A well-known example of the
accurate representation in stone of the finest work of the
needle is the surcoat of the Black Prince in Canterbury
Cathedral, and when in 1797 archaeologists opened King
John's tomb in Worcester Cathedral, they found him in
the same dress and attitude as that portrayed on the
recumbent statue. The statute above named gave rise
to curious methods of embroidery, in order to produce
the same gay results by means of less costly materials.
So in the second year of Henry VI., 1422, another
statute was passed whereby all such dishonest work was
to be forfeited to the King. It set forth that " Divers
persons belonging to the craft of Brouderie make divers
works of Brouderie of insufficient stuffe and unduly
wrought with gold and silver of Cyprus, and gold of
Lucca and Spanish laton (tin), and that they sell them
at the fairs of Stereberg, Oxford, and Salisbury to the
great deceit of our Sovereign Lord and all his people."
With this statute began the State protection of the trade,
and licensed embroiderers were further insured against
competition in 1453 by another, forbidding the im-
portation of foreign embroideries for five years, which
was re-enacted under Edward IV., Richard III., and

ISO HISTORICAL SKETCH OF BOOKBINDING.

Henry VII., and only partially repealed in the third and
fifth of George III.

To what extent embroidery constituted the occupation
of the ladies of England may be still seen in the baronial
halls that remain. Hatfield, Knowle, Penshurst, and
many others have various hangings wrought by their
hands, for embroidery was in request as wall decoration
before wainscoting came in. In Haynes's State papers
we read that Mary Queen of Scots, when at Tilbury
Castle in 1568, said to a correspondent of Sir William
Cecil "that all day she wrought with her nydell, and
that diversity of the colours made the work seem less
tedious, and she continued so long at it till very payne
made her to give over." With gifts of this sort did she
seek to propitiate Elizabeth, herself an expert in the
craft, specimens of whose work are shown at Penshurst
in Kent, and who it is supposed wrought more than one
of the book-covers extant. Hardwick Hall, Derbyshire,
is full of the work of Bess, Countess of Shrewsbury,
whose many talents are thus quaintly described : " Yet
with all the care exercised in exalting her family to an
extraordinary pitch of greatness, with a laudable
ambition to decorate her native country with the most

HISTORICAL SKETCH OF BOOKBINDING. 151

magnificent residences England can boast of, with an
affectionate discharge of maternal duties to fourteen
children, and a due performance of the conjugal
obedience claimed successively by four husbands, she,
like all the gentlewomen of that generation, found
leisure to embroider her arm-chairs and work her own
counterpanes."

In its highest perfection embroidery was exclusively
an English art, almost to the reign of the Stuarts, when
it sank into a debased style. Its fall came with the
Civil War and Puritanism : the devastation of churches
swept away the fine work that enriched them ; the
abolition of monasteries that had fostered the arts of
painting, illumination, and needlework completed the
destruction. What was left from the spoilers and
escaped the melting-pots of the Jews, is mostly possessed
by the old Roman Catholic families, and may still be
seen in their houses and chapels. Abroad the Reforma-
tion was less sweeping, consequently Germany possesses
far more ecclesiastical art remains, and has thus been
able to do a great deal for the training of schools of
needlework. The reigns of the Stuarts show how low it
descended under their patronage. Charles I. sent from

152 HISTORICAL SKETCH OF BOOKBINDING.

his prison locks of hair to the nobility that favoured him,
that the ladies of the household might use it in working
his portrait. In this reign, and that of James I., it was
the fashion to do portraits in needlework, stitched flat or
raised : they are mostly exceedingly bad, but the library
of the British Museum possesses a small book of Psalms
" collected into English meeter " by Sternhold and
Hopkins, bearing the date 1643, and with the portrait of
Charles I. in silks, embroidered on white satin, which is
a good specimen of its kind. With James I. we reach
the work known as embroidery on the stamp — the lowest
point in the history of the art. The figures of people,
flowers, or animals were stuffed with cotton or wool, and
raised in high relief; the faces were sometimes painted,
and the hair and wigs done in complicated knotting.
This style had its origin in Germany, and though
thoroughly inartistic in principle, some foreign examples
are attractive, but the English ones are without a re-
deeming quality. I have come across one or two book-
covers of this work, but luckily most that we have are
of a better style.

It is possible that besides the downfall of the Church,
protection may largely have contributed to the loss of

HISTORICAL SKETCH OF' BOOKBINDING. 153

the art in preventing access to foreign models. We
have seen with what severity the early statutes hindered
the expansion of the craft. Later on the East India
Company, who had the monopoly of the Anglo-Indian
trade under Cromwell in 1654, could well have en-
couraged it by importing the best Eastern designs, had
not embroidery alone of Indian manufactures been
contraband by these ancient statutes. At a time when
our work was most debased, that of Italy, Spain, and
Portugal was at its best, and when in 1707 the Portuguese
were sending their silks and satins to be worked at Goa,
a fresh statute was obtained, forbidding the importation
from India of any wrought material.

The majority of the embroidered bindings in the
British Museum are of the i7th century, and nearly
all contain works of devotion. In France it was other-
wise, but in this country it is the exception to find
secular books in embroidered covers.

The whole Booke of Psalmes, 1619, is the best
preserved of all those in the Museum library. The two
figures on the sides, set in a framework of silver wire,
are still gorgeous with the colours of the silks used two
centuries and a half ago, while the surrounding scroll-

154 HISTORICAL SKETCH OF BOOKBINDING.

work of " purl " — a material to be described later on —

has lost but little of its brilliancy. The groundwork of

the covers was always velvet, satin, or silk — mostly the

two first — and of these time has proved velvet to be

decidedly the best and most suitable material, and silk

the least durable of the three. Nothing is known of the

history of velvet, whence it came, or what people made

the fortunate discovery of its manufacture. It probably

originated, as well as satin, in China; but the earliest

places where it was made in Europe are all we know for

a certainty, and these were the south of Spain and Lucca.

The name "velluto" most decidedly indicates that

Italy was the market through which it reached us from

the East. It was no doubt fully in use after the middle

of the 1 4th century, but is not mentioned in the

earliest inventory of church vestments extant — that of

Exeter Cathedral, 1277, though unmistakably alluded to

for the first time in the later one of 1327.

Satin was not known in England until the i4th
century. The earlier church inventories have no men-
tion of it, but it is named among the rich bequests
made by Bishop Grandison to his cathedral at Exeter in
1340, and the later wardrobe accounts have frequent

HISTORICAL SKETCH OF BOOKBINDING. 155

mention of it. Chaucer, who died in 1400, mentions it
in his Man of Lawes Tale : —

" In Surrie whilom dwelt a compagnie

Of chapmen rich, and thereto sad and trewe
That wide where senten hir spicerie,
Clothes of gold, and satins rich of hewe. "

Velvet and satin, then, constituted the actual covers
of the books. The materials used for their enrichment
were floss silks of many colours ; gold and silver threads
of various thicknesses, the thinner being called " pass-
ing " ; and " purl," a material imported from Italy and
Germany in the i6th century, and henceforth much
in vogue. To these may be added spangles, the inven-
tion of which has been attributed to the Saracens,
" plate," and " lizzarding." Plate consists of narrow
strips of gold or silver metal beaten thin and stitched on
to the work by threads of silk which pass across them,
and lizzarding is likewise the metal beaten flat and thin
but coiled round a silken line. Spangles are not very
often found on book-covers, pearls being much more preva-
lent in the 1 5th century, but " plate " and lizzarding were
very frequently used, especially as the art got more debased
and striking effects were aimed at without much trouble.

156 HISTORICAL SKETCH OF BOOKBINDING.

Gold thread was produced by twining long narrow
strips of gold or gilt silver round a line of silk or flax, and
is probably almost, though not quite, as old a process as
that of working up the pure metal itself into a hair-like
thread to be either woven into the raw material or em-
broidered on it. Probably the oldest church vestments
were embroidered with this gold wire, though in later
times the gold thread mostly took its place. It is
possible that the reputation of Attalus II., King of
Pergamus, as an inventor of gold tissues may have arisen
from his patronage of thread of gold, for the gold flat
plate or wire was certainly in use before his time. It is a
fact that in the i3th century ladies used to spin the gold
thread needed for their own embroidery, for the process
which they followed is set forth as one of the items
among the other costs for that magnificent frontal
wrought 1271 A.D., for the high altar at Westminster
Abbey. The bill is to be seen in the Chancellor's
account for the year fifty-six of Henry III. But it was
also imported, and the gold threads that still preserve
their brilliancy were surely Oriental, and probably came
over in the bales of Eastern merchants. It had various
names from the places where it was made, these indicat-

HISTORICAL SKETCH OF BOOKBINDING. 157

ing also its quality. Thus may be seen "a vestment
embroidered with eagles of gold of Cyprus ; " and again,
" a cope of unwatered camlet laid with strokes of Venis
gold," but in what the difference consisted I do not
know, though experts have many theories on the subject.

The first wire-drawing machine was invented at
Nuremberg in the i4th century, but was not introduced
in England until 200 years later.

"Purl" is a spiral wire cut into lengths; this was threaded
on silk and sewn down generally over packthread in the
raised portions of the design to give a slight relief. The
same word is met with under the form of " purfling," and
its derivation is from "pour filer," to thread on. It was
sometimes manufactured with a coloured silk twisted
round the metal, though not concealing it, giving a very
rich effect. The small corkscrew-like rings made by this
coiled wire are very effective, catching the light in a
sparkling way. This material is now made in four
different varieties, rough and smooth, check and wire
check purl. A further kind called bullion is also to be
had of gold and silver wire-makers.

The art was soon discovered of making all these
materials in an inferior way ; in such cases the work has

158 HISTORICAL SKETCH OF BOOKBINDING.

perished, so far as its artistic value is concerned, but in
the best days of needlework only the finest of everything
was used. In the history of embroidery, accordingly, it
is found that much of it has been lost from two contrary
causes. What was made of the best material was often
melted down for its intrinsic value, and what was
decorated with adulterated metal has not stood the test
of time. In these days, when there is no longer any-
thing to fear from the melting-pot, there is no doubt
that the metal threads and purl used should be only of
the best.

I pass on now to consider the way in which these
materials were used, and the kind of stitchery most
effective for the purpose of book-covers. The finer kinds
of metal thread, called "passing" and "tambour," were
either worked through the material or sewn on to it with
silk of the same colour. Sometimes they were sewn on
flat and sometimes raised over thread or even cord if the
relief was to be high, but this was done only on satin
and velvet, silk embroidery was never thus raised.
They were mostly used double, the lines being laid
down side by side and only the ends passed through
from the back. Occasionally, too, they were sewn down

HISTORICAL SKETCH OF BOOKBINDING. 159

with a bright red silk that added lustre. This kind of

work, in which the gold thread is stitched on the surface

by threads coming from the back of the material, is

called " couching," or " laid " work, and the ancient

modes of couching were very numerous, zigzags, wave

patterns, and all kinds of diapers being produced by the

position and arrangement of the stitches that control the

gold thread. This use of a very fine passing is not often

found on book-covers, but there is one in the MS.

Department of the British Museum which, though much

worn, is an interesting specimen of this class of work.

It is a Latin psalter of the commencement of the i4th

century, which belonged subsequently to Anne, daughter

of Sir Simon de Felbrigge, a nun in the convent of

Brusyard, in Suffolk, to which she bequeathed it, and

where the figures were probably wrought. Only the

panels now remain. Let into the sides and patched

with leather, these represent on the upper side an

Annunciation, and on the lower a Crucifixion. The

figures are of the finest workmanship, and stand out on

a ground wrought with a gold thread caught down in

a wave-like pattern. Different sizes of gold twist were

employed for scroll-work or for outlining leaves and

160 HISTORICAL SKETCH OF BOOKBINDING.

flowers, or for bordering the raised parts of the design
in which purl was used.

The kinds of stitches used in the gold and silk
embroideries are comprised in classical and mediaeval
authors under six heads, four of which are to be met
with on book-covers.

First of all is that termed Opus Phrygium, or Orphreys,
as it was called in the Middle Ages, which includes all
passing and metal thread-work above described. It was
so named in the beginning because the Phrygians had
attained to the utmost perfection in the art when con-
quered by the Romans, who imagined them to have
invented it, being unaware of the success of the
Chinese in tissue ornament. The Romans imported and
domesticated the art, and afterwards applied the name
to all work in gold.

Opus Pulvinarium, or cushion work, includes all
stitches regulated by the thread of the material, such as
mosaic, cross and tent stitches, as well as chain stitches
— all, in fact, except the flat ones. It is considered to
have been so called because the stitches, being firmly
set, were found most suitable to shrines and cushions.
Under the name of Berlin work it has become wholly

HISTORICAL SKETCH OF BOOKBINDING. 161

debased, but what its effect can be may be seen in a little
volume of Psalms in the British Museum, covered in
canvas worked all over in tent stitch.

Opus Plumarium, or feather work, embraces all flat
stitches — of which the distinguishing mark is that they
pass and overlap each over — such as those known as
" satin," "stem," "twist," and "long and short " stitches.
This class has more capabilities in it than any other,
as the design may grow with the freedom of stitches that
are not counted but wrought at the will of the worker.
The origin of the word is obscure. Pliny mentions the
Plumarii as craftsmen in the art of acu pingere, or paint-
ing with the needle, and it is probable from the feather
patterns found in Egyptian art that first feathers them-
selves and later the imitation of them were used in the
adornment of textile fabrics. Feather application was
therefore most likely the first motive of the word, which
was afterwards extended to the stitches which conveyed
a similar effect.

All these three classes are to be found exemplified
either alone or in combination upon book-covers. I
give the remaining three for the sake of completeness.
They are : — Opus Consutum, cut or applique work, and

M

162 HISTORICAL SKETCH OF BOOKBINDING.

of this there is one example on a binding in the British
Museum — the only one I have so far come across. The
Opus Araucum or Filatorium, net or lace-work, and
the Opus Pectineum, tapestry or combed work, are
naturally not represented on book-covers.

It is almost certain that the application of embroidery
to binding was essentially an English art, and nearly all
the examples in our national collections are of home
workmanship. The Bibliotheque Nationale has two
on view in the Printed Book Department, and two in
the MS. Department, which are of native work ;
there may be more, but according to the rules of the
library it is impossible to make any researches from the
point of view of a particular art, as one must know the
title of a book before one can get access to it. Both
those in the first department are folios — one bound for
Louis XIV. in blue satin has his arms wrought in gold,
silver, and silk, and those of France and Navarre in the
corners ; the other, bound for Louis XV. in crimson
velvet with gold embroidery, has a water-colour portrait
of the King on the front side, and the arms of France on
the other.

" Les Gestes de Blanche de Castille," Queen of

HISTORICAL SKETCH OF BOOKBINDING. 163

France, in the MS. Department, dedicated to Louise de
Savoie, one of the many French ladies who had a famous
and well-bound library, is covered in black silk, the
stitchery representing a hunting scene as well as the
presentation of the book to Louise.

The most interesting one of the four is a small collec-
tion of prayers of the end of the isth century. Inside
the boards are portraits — probably of the possessors — the
book itself being covered in an embroidery in very fine
cross-stitch representing the Crucifixion with the Virgin,
St. John, and the angels.

In France, however, embroidery was more frequently
used as a mere envelope for a book of devotion richly
tooled, when the owner was in mourning, and desirous
that nothing gay should disturb the sombre note of her
apparel. Such a one Monsieur Gruel lately discovered
sewn on a binding still fresh in appearance, and dating
from the I'jih century.

Some of the old books treating of the art of needle-
work are very valuable ; of others, indeed, only the titles
are known. It is rather a curious fact that the English
specimens are all after Elizabeth's reign, when embroidery
had ceased to be a necessary part of education. Their

M 2

164 HISTORICAL SKETCH OF BOOKBINDING.

disappearance may perhaps be accounted for by their
having been cut to pieces, and used by women to work
over or transfer to samplers. Mr. Douce, in his illustra-
tions to Shakspere, has a list of some of these books.
There is one which, from the dress of a lady and gentle-
man in one of the patterns, appears to have been
originally published in the reign of James I. It appears
that the work went through twelve editions, and yet a
copy is now scarcely to be found. It is entitled The
needle's excellency, a new booke, wherein are divers
admirable workes, wrought with the needle. Newly in-
vented^ and cut in copper, for the pleasure and profit
of the industrious. Printed for James Boler, 1648."
Beneath this title is a neat engraving of three ladies in a
flower garden, under the names of " Wisdom," " Indus-
trie," and " Follie." Prefixed to the patterns are sundry
poems in commendation of the needle, describing the
characters of ladies who have been eminent for their
skill in needlework, among whom are Queen Elizabeth
and the Countess of Pembroke.

If the art of embroidery in its application to binding
is ever to come into fashion again, some lessons may be
learned from its similar employment in past times. And

HISTORICAL SKETCH OF BOOKBINDING. 165

at the outset it may be said that it is only applicable
within certain limits. Books chosen for decoration by
needlework should be such as are not meant to be stood
up in a bookcase, but rather intended to lie on a table or
be kept in a case. It follows, one would think, that the
work should appear only on the upper side of the book,
unless it is of so flat a nature as not to interfere with its
recumbent position. It is true that nearly all the old
embroidered covers were worked on both sides, but most
of them are much more worn on the under side, the
appearance of the whole being thus greatly marred by
the discrepancy between the freshness of the two sides.
If the design is not in relief at all, being worked in silk
and without metal thread or purl, it can appear satis-
factorily on both sides.

Another condition is that the material should be velvet
rather than silk or satin, as being much more durable,
not only in its texture, but also in the colours in which it
is generally made. A great many of the old embroidered
books that have survived are worked on silk or satin of
very delicate colours, and with silks equally delicate in
hue, giving artistically the most charming results. But
the conditions of modern life, with its smoky towns and

166 HISTORICAL SKETCH OF BOOKBINDING.

constant struggle with dirt, render such materials quite
unsuitable now, while a good rich-coloured velvet
has an immense amount of wear in it, and is more
dirt-resisting than many a delicate-coloured calf or
morocco.

Velvet, then, being the most suitable covering, a
further limitation is brought about in the materials with
which it should be worked. There is no doubt that gold
and silver passing of the best kind, in conjunction with
purl, looks best on velvet, and that silks are more suited
to the ground with which they naturally correspond. On
velvet only is it worth while expending the time and
trouble of an embroidered design. There is a book in
the British Museum, Opera franscisd, Baronis de Veru-
lamio, 1623, bound in purple velvet, and worked with
silver purl and passing, which is an example of the style
of work most adapted for revival. Another, which may
be seen in one of the show-cases of the Museum, entitled
Oratioms Dominicae Explicatio^ bound for Queen Eliza-
beth in 1583, is in material, colour, and design the
most perfect example of this style of work. Bound in
dark green velvet, the sides are completely filled by a
well-balanced design of comparative simplicity, worked

HISTORICAL SKETCH OF BOOKBINDING. 167

with couchings of gold twist, the roses and leaves being
treated with purl on a slightly raised foundation.

I may roughly class the embroidered bindings that are
within reach as materials for study under four heads —
Those with heraldic arms blazoned on velvet; those
with scroll-work in couchings of twist and metal threads
mixed with purl, having either velvet or satin as ground-
work ; those wrought with silks on silk or satin ; and
those covered entirely with fine tapestry stitch in silk
on a linen or canvas ground, no part of which appears.
In comparing these different classes one is impressed by
the fact that the simplest in design are both the most
effective and the most pleasing. Here and there may
be seen one that is both complicated and successful, but
not often — certainly so rarely that in reviving the art
complication in design should be avoided rather than
the reverse. The two first classes are the most attractive
and suitable for models ; there is always a distinction
about coats of arms, and set on a fine-coloured velvet
with a simple border of gold twist they are both simple
and effective.

There are two very fine embroidered covers in the
South Kensington Museum. One is of white satin

168 HISTORICAL SKETCH OF BOOKBINDING.

richly embroidered in seed pearls and coloured silks
which have not lost their colour, the whole being still
exceedingly brilliant. The second shows a blue velvet
cover worked with silver purl, the back of which has
an extremely original design.

In the beginning of this century a French binder
called Lesne wrote an elaborate poem in favour of his
craft, which, like similar poems with a purpose, is not of
any great merit as literature. But it contains some good
things, and, among others, two lines which should
become the motto of every craftsman :

" Un art n'est qu'un metier dans une main vulgaire ;
Un metier est un art quand on le sait bien faire.'

APPENDIX II.

THE USE OF METAL IN BOUND BOOKS.

BEFORE the multiplication of books by printing, their
covers had more to do with the goldsmith's art than with
that of the binder, whose labours were comparatively
restricted. In those days his functions were merely to
fasten together the leaves of the books and place them
between two boards, which were then decorated by the
workers in precious metals. If skins were used, he
covered the boards in leather or parchment ; after which
they passed into other hands for the fixing of metal
clasps and hooks to keep the boards shut, and in most
cases nails were also inserted, the round and projecting
heads of which preserved the flat surface of the binding.

The high price of manuscripts throughout the Middle

170 HISTORICAL SKETCH OF BOOKBINDING.

Ages, due to the scarcity of parchment, and the time
and labour necessary for transcription, explains the
luxury of ornament that decorated their outsides. The
thick wooden boards — the weight of which was necessary
to keep the parchment flat — were enriched with ivories,
precious stones, engraved gems, plaques of gold and
silver both engraved and filigreed, and the finest enamels.
As the books were not often transported from place to
place, indeed but little moved, the weight of their
covers was not a matter of importance, and these were
sometimes made to contain relics of the saints. To all
such work the name Byzantine has been applied, prob-
ably from the fact that Byzantine art flourished and
predominated over that of other countries from the
5th to the i2th centuries. It has thus no meaning
as a geographical expression, but is a general term
applied to bindings composed of these arts of the
gold and silversmith, of the enameller and ivory-carver,
executed in the first thirteen centuries of the Christian
era, and influenced in spirit by the art of the lower
empire.

Of these bindings those enriched with sculptured
ivory diptychs on the sides are perhaps the earliest.

HISTORICAL SKETCH OF BOOKBINDING. 171

These were already in use in the time of the Romans,
the name being derived from SiTr-ru^a, the two wings,
or boards of the pugillaria. These pugillaria, or table-
books, consisted of from two to eight leaves of ivory,
wood, or metal, wax-covered to take the impression of
the stylus. Their preservation naturally suggested a
cover, which was made of ebony or boxwood connected
by two or more hinges. The pugillaria were chiefly for
private memoranda. The diptychs were larger, and
contained public acts of consuls or magistrates inscribed
on their wax-covered leaves.

The curious in this matter can consult a learned
work of Gori on this subject, published at Florence in
1759, and entitled Thesaurus Veterum diptychorum Con-
sularium et Eccksiasticorum, a work in three folio
volumes, describing these diptychs and their embellish-
ment with sculptured ivories, plates of silver and gold
riveted to the wood and finished in delicate workman-
ship. In the early days of the Church there were
carved illustrations of Scriptural subjects, generally in
compartments containing the Saviour and the Apostles,
and, indeed, carved especially in harmony with the
contents of the manuscript, but occasionally the plaques

172 HISTORICAL SKETCH OF BOOKBINDING.

used were relics of pagan days, and then their subjects
were naively interpreted in a Christian sense to suit the
use made of them. Such a one, for example, is the
famous Messe des Fous, with a musical notation of the
1 2th century, now in the library at Sens. The cere-
monies that accompanied this office de la Circondsion,
and which were tolerated for a considerable time, were
often of a most grotesque and extravagant kind — hence
its name. The ivories of this manuscript represent the
triumph of Bacchus, and date probably as far back as
the 4th century. It is well reproduced, together with
other ivories, in Labarte's book, Labarte making almost
a specialty of depicting this form of book-cover as Libri
did of the enamelled ones.

Of the three classes into which these very early
bindings most naturally fall, ivories, goldsmith's work
proper, and enamels, the gold and silver work — pierced,
chased, or engraved, and often ornamented besides with
precious stones — occupies the middle place, enamelled
covers apparently originating when gems became rare.

Throughout all ancient historical records mention is
made of this second class of bindings, wrought by
command for the wealthy to dedicate to the Church, or

HISTORICAL SKETCH OF BOOKBINDING. 173

by the monks themselves as cases worthy of the devo-
tional works which they enclosed, and often placed in
homage on the high altar itself. The number that has
come down to our times is very small, nor is it surprising
that they should not have escaped the plunder that took
place during the different vicissitudes of the Church.

Those extant are scattered over various museums and
libraries of Europe, and it is unfortunately very rare to
find any previous to the i2th century on the manu-
scripts for which they were originally designed. Torn
from what they once covered on account of their worth
they have either been recaptured and applied to others
of later date ; or the book itself ceasing to be of value,
they have been removed and kept as works of art on
account of their beauty or historic interest. From time
to time those so preserved have been facsimiled in such
books as Labarte's Histoire des Arts Industriels,
Lacroix's Moyen Age et la Renaissance, and Libri's
Monuments inedits. M. Libri, it is well known, possessed
a larger number of these valuable covers than almost
any other collector, and in his book they are reproduced
according to their original size and in their original
colours.

174 HISTORICAL SKETCH OF BOOKBINDING.

This form of costly protection to the not less costly
MSS. had itself in turn to be protected, and thus these
books were often enclosed in boxes which were them-
selves sometimes the work of the goldsmith, or else in
outer covers of chevrotin, a thin leather, or sendal, a
rough silk. These coverings were termed in later times
chemises, and sometimes chemises a queue, when there was
a margin of stuff which, when the MS. was being read,
folded up on to the page and so allowed a hold on the
parchment without the risk of soiling it with the fingers.
These chemises appear in inventories and catalogues of
libraries of the i4th and i5th centuries. They are very
rarely met with, but one of red sendal may be seen in
the Louvre enveloping a Book of Hours of St. Louis.
The same thing, in a modified form, and made of red
velvet, preserves a large folio in the MS. Department
of the British Museum — the original book of in-
dentures made between King Henry VII. and John
Islippe, Abbot of Westminster, for the foundation
of the King's Chantry, dated the i6th of July in
the nineteenth year of his reign (1500). The boards
of this book are covered in red damask cut at
the top in a wave pattern. The velvet cover lined with

HISTORICAL SKETCH OF BOOKBINDING. 175

damask is loose on the silk-covered boards, except for
an attachment here and there where the bosses and
clasps of silver-gilt enamelled are affixed to them. It is
cut much larger than the book at the head and tail, and
is also brought round over the fore-edge, the clasps
lying on the side. Attached by silken cords are five
impressions of the King's Great Seal, each contained in
a silver box adorned with the royal badges. This book
is in the Harleian collection, to which it was presented
by Sir Thomas Hoby of Bisham, in the county of
Berks, and is altogether very interesting, though the
workmanship is more curious than beautiful. A con-
temporary duplicate copy of the inside was made for
use by the same hand.

The third class of costly bindings of the Middle Ages
are the Limoges enamelled covers — a style often em-
ployed alone, or else in conjunction with gold and
precious stones. These are more fitly studied as enamels
than as bindings. They are divided into two classes :
the kind known as partitioned or chatnpleve, which is the
oldest and dates back to the i2th century, or perhaps
even to the early times of Byzantine art ; and the painted
enamels, which did not commence before the second

176 HISTORICAL SKETCH OF BOOKBINDING.

half of the i5th century. It is the older style to which
M. Libri devotes eleven plates with not unnatural
pride, as they are of extreme rarity. The Cluny Museum
possesses two splendid plaques which once adorned a
book : one of them represents the Adoration of the
Magi, the other, Etienne de Muret, founder of the Order
of Grandmont, talking with St. Nicolas, and the inscrip-
tion fixes the date, " + Nicolas Ert parla k mone Teve
de Muret."

Milan Cathedral has a still older and finer specimen
in a book-cover presented, it is said, by the Archbishop
Aribert to this church in 1020. It is described in Les
Arts au Moyen Age, by Du Sommerard.

As the monasteries were the depositories of the arts
and sciences until the invention of printing, so there
were monks whose special avocation it was to bind the
manuscripts which others of their fraternity had written
and embellished. Warton, in his History of English
Poetry^ gives an interesting account of the scarcity of
books at this period, and of the details concerning their
maintenance. It was part of the sacrist's duty to bind
and clasp the books used in the service of the church,
and for this purpose a room called the Scriptorium was

HISTORICAL SKETCH OF BOOKBINDING. 177

set apart in every great abbey where those worked who
transcribed, as well as those who bound and ornamented.
The same writer tells us • how some of the classics were
written and bound in the English monasteries, and
mentions one Henry, a Benedictine monk, of Hyde
Abbey, near Winchester, who in the year 1178 tran-
scribed Terence, Boetius, Suetonius, and Claudian, which
he bound in one volume, and formed the brazen bosses
of the covers, with his own hand.

Ecclesiastical histories show that estates were often
granted for the support of the Scriptorium, and that
special grants were not unfrequently made for pur-
poses connected with the actual binding of books.
Thus Charlemagne, about 790, gave an unlimited right
of hunting to the monks of Sithin for making their gloves
and girdles of the skins of deer, and covers for their
books. Nigel gave the monks of Ely two churches in
1160 " ad libros faciendos ;" and the constitutions of the
several monasteries enjoined care in the binder's craft, as
well as in the preservation of the libraries. Monks alone,
like princes, had the right of practising many arts ; they
could be writers, illuminators, binders, and goldsmiths,
instead of their functions being limited to the perform-

N

178 HISTORICAL SKETCH OF BOOKBINDING.

ance of one single craft, or even part of a craft, as was
statutory in the trade guilds outside the Church and the
Throne. So it came about that up to the discovery of
printing, the multiplication of books and their decoration
remained entirely in the hands of monasteries, and until
the middle of the i4th century religious art prevailed
over any form of secular art.

The monk The'ophile, of whom nothing personal is
known, wrote about the middle of the nth century a
treatise of the utmost importance on the arts of paint-
ing or calligraphy, glass-staining, and goldsmith's work.
This work, entitled Diversarum artium schedula, gives
technical descriptions of so complete a kind that the arts
described could be practised from them, and as The'ophile
himself was both a painter of manuscripts and a worker
in glass, gold, and enamel, it is probable that it was
destined for monks, and that convents always included
one or more monks able to repair or make the necessary
goldsmith's work for ecclesiastical purposes. This
explains, no doubt, why the skill applied to the jewelled
covers or boxes for their missals was of such a high order,
for those capable of fashioning cups and vessels of
sacramental plate would find it no impossible task to

HISTORICAL SKETCH OF BOOKBINDING. 179

beat out the plates of gold or silver for the adornment
of their devotional books.

It was not till the i4th century that the secular
branch of goldsmith's work had a position apart. Up to
that time the making of shrines, reliquaries, and cups
was their chief occupation. During the following century
they widened their sphere of labour by manufacturing
gold and silver plate, and enriching the treasury and
even the wardrobes of kings and nobles. With the
1 6th and i7th centuries workmanship superseded
the weight of the precious metals. The goldsmith
of that time had to be sculptor, modeller, smelter,
enameller, jewel-mounter, and metal-worker combined,
and hence there is more unity about the metal-wrought
bindings of that time than there is about the earlier ones.
Indeed, an important point to be observed in connec-
tion with the Byzantine covers is, that they have not
the unity that belongs to a single work of art. Portions
of them made by different artists at different periods,
and even in different countries, were incorporated in one
cover, or smaller ones were subsequently adapted to
larger volumes by resetting them in borders and so
enlarging their capabilities. It is, perhaps, partly due to

N 2

i8o HISTORICAL SKETCH OF BOOKBINDING.

this feature that the term Byzantine has been applied to
this mixed work, not wholly so much to express its con-
nection with a particular country or period, but rather
to indicate a certain type, the characteristic of which is
this admixture of materials often somewhat incongruous
and rarely the work of a single hand, and which followed
therein the example set by much of the art of Byzantium
itself.

It is only the later ornamented covers that can with
any propriety be treated of as bindings. The magnificent
ways in which the monks habited their manuscripts not
less costly than the precious metals themselves, are
mostly fitted to be studied as the work of the goldsmith.
So it is, too, with the iyth century covers made
entirely of metal, pierced, beaten, and engraved. As
specimens of this last class we may mention two in the
British Museum and two in the South Kensington
Museum.

Perhaps the best specimen of all is in the British
Museum — a German binding of the xyth century
in gilt metal, pierced and engraved. The back of the
cover is treated in the same way, in two longitudinal
compartments hinged together to allow of the better

HISTORICAL SKETCH OF BOOKBINDING. 181

opening of the volume, which is somewhat thick. The
edges of the leaves are painted and gauffered, the head
and tail being protected at the back by a flat metal cap
also pierced and chased — forming part of the cover.
The whole is a most beautiful example of a metal
binding. It contains a Frauenzimmer Spiegel, or
series of female characters taken from the Old and New
Testament, by Hieron Orteln, with forty engravings.

The second in the same collection is also a German
binding. It is of silver, ornamented with a Niello border
surrounding open silver tracery. It contains Flosculi
historiarum, by Jean de Bussieris, dated 1688, but the
cover is older than the book. To this goldsmith's
chasing, known as Niello work, is traced the art of
engraving, for the workman was in the habit of rubbing
a black substance into the lines he cut to see how his
work progressed.

The best in the South Kensington Museum is a cover
of arabesque open work in silver-gilt, probably Dutch
work about 1670. It is a good example of a mode of
treating book-covers not often resorted to, but very
effective, in which the ornamentation is concentrated on
the front instead of the back portion of the book ; and

i8a HISTORICAL SKETCH OF BOOKBINDING.

which is as suitable for flat tooling as for pierced
work.

Another is that of a very delicate piece of work con-
taining Good's Jesum liebender Seelen tagliche Himil-
reis, published at Nuremberg in 1704. It is in a con-
temporary binding of oak boards covered with per-
forated silver-work, and has similar silver clasps. Both
the piercing and chasing as well as the design are in the
most perfect taste.

There are three chief sources of information for
bindings and book ornaments during the i4th and
1 5th centuries : these are the inventories of libraries,
chiefly foreign, such as those of the splendid col-
lections of the Dukes of Burgundy and of Orleans ;
the wardrobe accounts of English kings and queens, like
those of Edward IV. kept by Piers Courtneys in 1480,
and edited by Sir H. N. Nicolas ; and the wills and
bequests of the nobles and rich men in this country at a
time when books, as such, were still valuable, and when
it was customary to leave them as legacies both to friends
and to ecclesiastical bodies. I shall glance at each of
these in turn, and see how the books of the time were
described in detail as works of art, which they really were.

HISTORICAL SKETCH OF BOOKBINDING. 183

Belonging to the Dukes of Burgundy were Heures
de la Croix in " a binding embellished with gold and
fifty-eight large pearls in a case made with camlet, with
one large pearl and a cluster of small pearls ; " the
romance of the Moralite des homes sur le Ju des
Eschiers (game of chess) " covered in silk, with white
and red flowers, and silver-gilt nails on a green ground ; "
a book of Orisons " covered in red leather with silver-
gilt nails ; " a Psalter " having two silver-gilt clasps
bound in blue, with a golden eagle with two heads and
red talons, to which is attached a little silver-gilt instru-
ment for turning over the leaves, with three escutcheons
of the same arms, covered with a red velvet chemise."
Belonging to the Duke of Orleans, brother to Charles VI.,
we find Vegece's book On Chivalry "covered in red
leather inlaid, which has two little brass clasps; the
Book of Mehadus covered in green velvet with two
silver-gilt clasps enamelled with the arms of his Royal
Highness ; the book of Boetius on Consolation, covered
in figured silk ; the Golden legend covered in black
velvet without clasps." These same inventories give an
account of the prices paid for the bindings and their ac-
cessories. Thus on September igth, 1394, the Duke of

184 HISTORICAL SKETCH OF BOOKBINDING.

Orleans paid to Peter Blondel, goldsmith, twelve livres
fifteen sols for having wrought besides the Duke's silver
seal, two clasps for the book of Boetius ; and on January
1 5th, 1398, to Emelot de Rubert, an embroideress at
Paris, fifty sols tournois " for having cut out and worked
in gold and silk two covers of green Dampmas cloth, one
for the Breviary, the other for the Book of Hours of the
aforesaid nobleman, and for having made fifteen markers
and four pairs of silk and gold straps for the said books."
From the accounts of these two libraries, which were
partly destroyed and partly disseminated among the
great public collections, it is possible to obtain a de-
scription of every form of binding and decoration in
vogue during the fourteenth and fifteenth centuries.
These books were, of course, manuscripts, and it may be
observed that while the Duke of Burgundy had his
bound for the most part as soon as he acquired them,
the Duke of Orleans obtained his ready-bound, and only
had those re-covered that were in need of it by his two
binders, Guillaume de Villiers and Jacques Richier, to
whom various sums of money are assigned in the inven-
tories for skins, clasps, nails, &c., all mentioned in
detail.

HISTORICAL SKETCH OF BOOKBINDING. 185

To turn to our own country, the wardrobe and privy
purse accounts of Edward IV., Henry VIII., Mary,
and Elizabeth all show the same love of binding as an
art, with the same minute descriptions. From the
accounts of the first-mentioned monarch we take the
following entry : — " Delyvered for the covering and
garnysshing vj of the Bookes of oure saide Lorde the
Kynges, that is to say, oon of the Holy Trinite, oon of
Titus Lyvius, oon of the Gouvernal of Kynges and
Princes, a Bible, a Bible Historialle, and the vjth called
Froissard. Velvet vj yerdes cremysy figured ; corse of
silk, ij yerdes di' and a naille blue silk weying an unce
iij q' di' ; iiij yerdes di' di' quarter blac silk weying iij
unces ; laces and tassels of silk xvj laces ; xvj tassels,
weying to gider vj unces and iij q' ; botons xvj of blue
silk and gold ; claspes of coper and gilt iij paire smalle
with roses uppon them ; a paire myddele, ij paire grete
with the Kyng's Armes uppon them ; bolions coper and
gilt Ixx ; nailes gilt ccc." The bolions named were a
sort of button used as fastenings of books made of copper
and gilt, and cost about eighteen pence each.

Velvet was a favourite material, and is the most
frequently mentioned in these lists, with or without

i86 HISTORICAL SKETCH OF BOOKBINDING.

ornamentation. Among Henry VIII.'s expenses may be
seen paid to " Rasmus one of the Armerars for garnishing
of divers books " — which was apart from binding — on
one occasion ;£n 55. 7d., on another "^34 ios. for
garnishing thirty-six books," probably only the fixing of
clasps, corners, bosses, and the like to the sides.
Skelton, the poet laureate of Henry VIII., thus describes
one of his missals : —

With that of the boke lozende were the claspes,
The margin was illumined al with golden railes,
And bice empictured with grass-oppes and waspes,

With butterflies, and fresh pecocke tailes,

Englored with flowers, and slymy snayles,
Envyved pictures well touched and quickely,
It would have made a man hole that had be right sickly,
To behold how it was garnished and bound,
Encoverde over with golde and tissue fine,
The claspes and bullions were worth a M. pounde,

With balassis and carbuncles the border did shine

With aurum mosaicum evey other line.

We know from the numerous books emblazoned with
the arms of Henry VII. that that monarch must have
possessed a fine library, which was no doubt augmented
under his son. The German traveller Hentzner,

HISTORICAL SKETCH OF BOOKBINDING. 187

who visited the royal library in 1593, which was then
located at Whitehall, says that it was well furnished with
Greek, Latin, Italian, and French books, all bound in
velvet of different colours, yet chiefly red, with clasps of
gold and silver ; and that the covers of some of them were
adorned with pearls and precious stones.

The library of the British Museum possesses many
books once belonging to the royal collection, from the
time of Henry VII., from which we see that neither
Mary nor Elizabeth fell behind their predecessors in a
love of costly bindings.

At the end of Nichols's Progresses of Queen
Elizabeth there is a list of "gifts given to her majestic
at Newyeres-tide 1582," and among them "a boke of
gold enamuled garnished with viii amarestes given by
Mr. Packington ; " and again, " a little booke of gold
enamuled garnished and furnished with smale diamondes
and rubyes, both claspes and all hanging at a chayne of
gold, viz vi pieces of gold enamuled two of them gar-
nished with ragged staves of smale sparcks of diamondes
and iv of them in eche, n smale diamonds and two
smale sparcks of rubyes xvi lesser pieces of golde,
in evey of them a smale diamonde, also xxiv pieces of

188 HISTORICAL SKETCH OF BOOKBINDING.

golde in evey of them, iv perles with a ring of golde to
hang it by all given by therle of Leycester master of the
horse." In the inventory of her jewels and plate made
in the sixteenth year of her reign several ornamental
books are thus described : " Gone Gospell booke,
covered with tissue and garnished on th' onside with the
crucifix and the Queenes badges of silver gilt, poiz with
wodde, leaves, and all cxij oz ; " and again, " Oone booke
of the Gospelles plated with silver, and gilt upon bourdes
with the image of the crucifix ther upon and iiij
evangelists in iiij places with two greate claspes of silver
and guilt, poiz lii oz.gr. and weing with the bourdes,
leaves, and binding and the covering of red vellat, cxxjx
oz."

I have mentioned wills as a fertile source of in-
formation concerning bindings ; such works as the
Testamenta Vetusta of Nicolas, and the wills and in-
ventories published by the Surtees Society ; and others
drawn from the archives contain bequests of bo6ks, of
which the following, from the will of Lady Fitzhugh,
1427, is a specimen; " Als so I wil yat my son William
have a Ryng with a dyamond and my son Geffray a
gretter, and my son Robert a sauter cov'ed with red

HISTORICAL SKETCH OF BOOKBINDING. 189

velwet, and my doghter Mariory a primer cov'ed in
Rede, and my doghter Darcy a sauter cou'ed in blew,
and my doghter Malde Eure a prim' cou'ed in blew."
Eleanor, Countess of Arundel, left by will to Ann, wife
of her nephew Maurice Berkeley, a book of Matins
covered with velvet, and her daughter Ann, Duchess of
Buckingham, a primer covered with purple velvet with
clasps of silver-gilt.

The most successful example of the application of
silver ornaments to binding, both from the simplicity of
design as well as perfection of finish, may be seen in an
octavo volume in the manuscript department of the
British Museum bound in green velvet — Le Chappelet
de Jesus et de la Vierge Marie. It contains a metrical
Life of Christ, the descent of the Holy Ghost, &c.,
illustrated by a series of miniatures executed for Anna,
wife of Ferdinand, King of the Romans, afterwards
Emperor. Her name and the monogram IHS are on
the clasps. The book seems afterwards to have come
into the possesion of Margaret Tudor, wife of James IV.
of Scotland, the letters of the name of Marguerite in
Tudor roses forming the bosses of the binding, which is
of the sixteenth century. Another good specimen

igo HISTORICAL SKETCH OF BOOKBINDING.

though of very different character, is A Meditation
upon the Lord's Prayer (with the text) written by the
Kings Majestic (James I.) for the benefit of all his sub-
jects especially of such as follow the court. London 1619.
This is the King's own copy bound in purple velvet,
with shields bearing the royal arms, clasps with I. R.,
the King's initials, and corner pieces, all in silver. The
corners on the upper side have the crowned fleur-de-lys
as the badge of France, the crowned harp as that of
Ireland, the crowned thistle for Scotland, and the cross,
also crowned, for England. The precise meaning of the
latter does not appear ; it was probably taken out of the
crown, of which the cross is always a part in the arms of
England, but it does not seem to be found elsewhere as
a separate emblem in this significance. Those on the
under cover are at the two top corners ; a crowned
thistle, and a crowned lion sitting holding a sceptre and
sword — both badges of Scotland ; and at the lower
corners, a rose and lion on a cap of maintenance, both
crowned, the crests of England.

The clasps have the portcullis, which was the badge
used in reference to the descent of the Tudor family,
from the house of Beaufort, and is thus accounted for in

HISTORICAL SKETCH OF BOOKBINDING. 191

Willement's Regal Heraldry : — " Catherine Swinford,
a mistress and subsequently wife of John Duke of
Lancaster, resided at the castle of Beaufort, in Anjou
and at that place gave birth to a son named John,
maternal grandfather of King Henry VII., who with
others of her children by the Duke were in 29 R. 2
legetimated and had the surname De Beaufort given to
them." The portcullis was evidently the type of this
castle, the place of their nativity. Henry VII. some-
times added to it the words " altera securitas," intimating
that, as the portcullis was an additional defence to a
fortress, so his claim to the crown through the blood of
Beaufort should not be rejected, although he possessed
it by more sufficient and undeniable rights.

I have described this little book at some length, for
apart from its interest as a King's copy and work of art,
it is a typical example of the problem to be worked out
in many a like specimen — a problem often historical and
frequently complicated by emblematic and heraldic
devices, from the deciphering of which may be gathered
generally the approximate date of the binding, and not
unfrequently the name of the owner and the circum-
stances of its origin.

192 HISTORICAL SKETCH OF BOOKBINDING.

A new Testament, dated 1643, is, like the last, in
duodecimo, and may be also seen in one of the show-
cases of the King's Library in the British Museum. It
is bound in red velvet, with silver corners and clasps
bearing allegorical figures of the cardinal virtues, and of
the four elements, with ornamented medallions of King
Charles I. and Queen Henrietta in profile. The back
has some strips of braid upon it, which are inappropriate
to the silver ornaments. Both this and King James's
book are capital specimens of one of the most attractive
classes of book ornament of the time — that of velvet
with silver mountings.

Another kind of decoration much in vogue for books
was enamel. Eleanor, Duchess of Gloucester, men-
tions in her will in 1339 "a chronicle of France in
French, with two clasps of silver, enamelled with the
arms of the Duke of Burgundy ; a book containing the
Psalter, Primer, and other devotions, with two clasps of
gold enamelled with her arms ; a French Bible in two
volumes, with two gold clasps enamelled with the arms of
France ; and a Psalter richly illuminated, with the clasps
of gold enamelled with white swans, and the arms of my
lord and father enamelled on the clasps." Unfortunately

HISTORICAL SKETCH OF BOOKBINDING. 193

no reproduction, except a coloured one, conveys any idea
of the beauty and delicacy of this form of ornamentation ;
but the lover of this work will find two examples in
the British Museum, which are unequalled for fine colour
and exquisite design. They are both gold enamels ; one
is a centre-piece, or rather two centre-pieces that de-
corate a folio New Testament bound in green velvet
which the Stephanus press published in 1550. The gold
plates are very thin, of a diamond shape, measuring
only 2 1 inches by 2^, and fastened to the boards of the
book with nails — that on the upper cover having the
arms of Elizabeth, that on the under side a crowned
Tudor rose.

In Nichols's Progresses of Queen Elizabeth, her
visit to Cambridge University in 1578 is related, and
after mentioning the public orator's speech, the gifts
to the Queen are thus described : " About the end
of his oracion, the orator making mention of a present,
Mr. Daniel Rowland, then Vice-Channcelour, making
his three ordinarie curtesies, and then kneeling at her
Majestie's feete, presented unto her a New Testament
in Greek of Robert Stephanus, his first printing in
folio, bound in redde velvett, and lymmed with gowld,

o

194 HISTORICAL SKETCH OF BOOKBINDING.

the armes of England sett upon each side of the book
very fair ; and on the third leaf of the book, being fair
and clean paper, was also sett and painted in colours the
armes of the universitie with these writings following."
Then follows a long Latin inscription. The British
Museum copy has not the arms of Cambridge thus
painted inside, and so this cannot be the book here
described ; but it is just possible that the enamel centre-
pieces may once have decorated the Queen's own copy.

Another specimen of enamel work also exhibited
is from the library of George III., a volume of Christian
meditations, bound in light red velvet, now worn quite
threadbare, with corners, clasps, and centre-pieces of
gold enamelled in colours. It formerly belonged to
Queen Elizabeth, whose initials and badge are embla-
zoned thereon.

Gold filigree work was also often used, both for clasps
and corners, and has an extremely light and pleasing
effect. A Book of Hours in the manuscript department
of the British Museum is a good example. It was
written in Latin on vellum in France, at the close
of the 1 5th century, and is bound in dark red velvet.
It has also some curious cushion markers, which were

HISTORICAL SKETCH OF BOOKBINDING. 195

an added luxury to books of that time. Each marker —
and there are several — is made of silk or brocade,
and though not fastened to the book, is kept from
slipping through it by means of a little pillow of the
same material. This collection of tiny cushions attached
to each other rests on the top of the book, and the ends
of the markers, which are long, are often embroidered
with gold and silver thread.

There is one style of binding about which a few
words may not inappropriately be said here. Tortoise-
shell covers are peculiar to the i7th century. Sometimes
plain, except for an edging of silver, with silver corners
and clasps, or more often dexterously inlaid with silver
and mother-of-pearl, they form a pleasant diversity to the
richer and more highly ornamented bindings which were
then beginning to be more and more rare. The South
Kensington Museum contains three specimens, of which
the most interesting is perhaps a very small volume
containing a book of prayers, written on vellum in
Hebrew with illuminations, the little tortoise-shell covers
being inlaid with silver-gilt, filigree, pique*, and incrusted
work. It is Spanish, about 1747, and only measures
three inches by two and a quarter.

O 2

196 HISTORICAL SKETCH OF BOOKBINDING.

The British Museum has also three or four of these
covers. One of a book of Jewish daily prayers, Amster-
dam 1667, is a fine octavo, enriched with two silver
hinges, besides clasps and centre-piece of silver, as
well as a top ornament with a ring for suspending the
book. A small quarto, also containing Jewish prayers
is treated in a similar way without the centre and
suspension pieces. Paradiess-Gartlein by Arndt, Ulm,
1772, is elaborately inlaid with silver and mother-of-pearl
on the sides, and bordered with a plain band of silver — a
very delicate piece of work. This sort of book-cover
is mostly German or Dutch, and does not appear to have
obtained in either France or England.

The disappearance of these costly kinds of decoration
for books was very gradual, and even after the taste
for the more precious metal ornaments had subsided,
and given place to the hardly less elaborate tooling
of leather covers, the use of silver clasps, with or without
corners, continued. These are to be found in great
variety, at the sellers of old silver in all parts of the
world. Some time ago there was a fashion for their
use as cloak-fastenings, and it is lucky — that being so —
that there soon sprang up a manufacture for their repro-

HISTORICAL SKETCH OF BOOKBINDING. 197

duction by means of casting, else those that really once
adorned the old bindings might be still less rare than is
actually the case. As it is, many a second-hand silver-
smith can produce genuine silver book ornaments, some
just as they were when torn from the books, to be got
for little more than the price of the silver ; others, alas !
already adapted to feminine needs. In Holland and
Belgium especially, the collector may still pick up the
unadapted specimens. One such may be seen in the
South Kensington Museum, in silver pierced work,
engraved and having the sides heart-shaped — a delightful
specimen of what may be done with little technical
labour, when the design is simple and appropriate. It
is German work, and was bought at the Annual Inter-
national Exhibition in 1872, for ten shillings !

Why should clasps have disappeared from modern
English bookbinding, except in the case of Bibles and
prayer-books when they are of an inartistic and
thoroughly commonplace character ? It is not the case
in France, where such a firm as that of Messrs. Gruel
and Engelmann turn out numerous books with silver
clasps, not of course wrought by hand, but of excellent
Renaissance design, and no doubt hand-finished. There

198 HISTORICAL SKETCH OF BOOKBINDING.

is scope for a renewal of such work in our time, though
I think if it is to take place it should always be hand-
wrought, and applied to books that are intended for
what the French call reliures de fantaisie. We hear a
great deal about metal-work now, and indeed see both
embossed and pierced copper and brass-work as finger-
plates, bowls, dishes, and many other lesser articles
of domestic use. Why does not some of this industry go
towards the embellishment of our books ? The material
needed, though somewhat expensive to start with, has
always its intrinsic value, and but a small amount is
required; the tools, too, are mostly those used for
the harder metals, and need less effort in their manage-
ment. The most important point to be observed is
that the silver, which should not be thicker than a
three-penny piece, is either alloyed like foreign silver
or else annealed so as to be of the necessary hardness
and resistance. The delicate little corners that come off
an old book are often extremely slight, and yet perfectly
firm and solid. If the metal used is too ductile it
is impossible to avoid a flimsy and weak effect. The
design should be first traced or engraved, then the
raising should follow, and the piercing be done last of

HISTORICAL SKETCH OF BOOKBINDING. 199

all. This is effected by means of a fret saw, and it
is not more difficult to cut metal than wood except in
the case of iron. To do either well requires some
practice, and a good piercer never touches his work
with files, but lets it be as the saw leaves it. Such
work is well within the range of the amateur craftsman,
though he may need professional assistance in the
mitring of the corners and making the hinge and
fastening of the clasp.

A last word as to the mounting and application of
such ornament. It should be always on a plain material
— if leather, untooled; if silk or velvet, undecorated
in any other way. Morocco, pigskin, velvet, or the
deerskins now prepared with a soft rough underside
are all suitable, and a book well but plainly bound
in one of these coverings, and decorated solely with
corners, clasps, and perhaps a badge in silver, can
be no better habited than after this fashion of the
1 6th century.

APPENDIX III.

BOOK-EDGE DECORATION.

OF the minor details of bookbinding there is no one
that used to meet with more attention and that is now
more neglected than the ornamentation of the edges.

The old modes of edge decoration were nearly always
gilt-edge decoration — that is to say, the edges were
mostly gilt either before or after the application of the
ornament — and may be roughly divided into three
classes : — First, what is now known under the various
names of gilding a V antique, " tooled " or " gauffered "
edges ; second, gilding on marbled, painted, or coloured
edges ; and third, gilding on landscapes. Each of the
two first classes includes different varieties of the same
process.

HISTORICAL SKETCH OF BOOKBINDING. 201

The first had its rise in France in the reign of Louis
XII., and was reserved for important works mostly
destined for the king. Ornaments, arms, and the
devices of the sovereign were impressed upon the edges,
and this refinement of book luxury was then known as
" antiqucr sur trancJies" though its more modern title is
" ciseler sur tranches" Nearly all the books in the
original binding of the sixteenth century are so orna-
mented. According to M. Gruel the most ancient book
known to be so " tooled " is a Recueil de Pihes latines et
grecques, published by Frangois Tissard, and printed at
Paris by Gilles de Concourt about 1507. It is an octavo
volume bound with the arms and emblems of Louis
XII., and the conventionalised floral design on the edges
is entirely worked by hand. It is in the Bibliotheque
Mazarine.

Our own national library possesses many specimens of
this kind of work, and if there are none of equal import-
ance to the above, there are many of charming design
and of a style especially appropriate to the limitations of
the subject.

The process by which designs of this class are
executed is very simple, though to make complete

SANTA BARBARA STATE GQLLEOE LIBRARY

202 HISTORICAL SKETCH OF BOOKBINDING.

designs for circumscribed spaces, requires the workman
to be an artist. After the edge is gilt in the ordinary
way, a coat of size is lightly passed over it. When dry,
the edge is slightly rubbed with palm oil to make the
gold adhere, and then covered with gold leaf of a
different colour to the first used. The tools for the
various designs are then slightly warmed and impressed
upon the edge. A still more delicate way is to take up
the gold, cut in small pieces, from the cushion on the
tools, so as to avoid sizing the already gilded surface.
The gold that has not been touched by the tools is then
lightly rubbed off, and there remains an effective pattern
of one coloured gold upon another. Of course there is
no necessity to use the two kinds of gold ; in many of
the designs, the tools have been worked straight on to
the original gilded edge. A further variety may be seen
when the design looks dull upon a bright ground. This
is achieved by working the tools on the edge when the
gold leaf has been flattened on and not burnished. The
impressions being slightly sunk, the edge may be bur-
nished afterwards without touching them, and they will
consequently remain dull.

In France, book edges are still treated somewhat after

HISTORICAL SKETCH OF BOOKBINDING. 203

this manner, and the " ciselure des tranches" forms a
separate trade. But the decoration, strange to say, is
almost entirely confined to books of devotion, and is
carried out mostly in a stereotyped fashion that deprives
it of any attractiveness, and without any of the elaborate-
ness and appropriateness of design that characterise the
best examples of the historic period. The patterns are
traced by means of dots worked with fine punches and
a light hammer. Although lovers of fine bindings in
France are very numerous, and the prices they pay their
masters of the art are often those of a picture or a gem,
the taste for these decorated edges seems to be altogether
a thing of the past. It is a pity that it should be so, for
edge gilding is carried out to great perfection, and
inasmuch as any form of painting under gold requires
great delicacy in the operation of gilding, the French
would no doubt achieve great success in all modes of
edge decoration. One has only to compare a book
gilded in London with one done by a good Paris
workman to see that what is but a rough handicraft here
is a fine art over there.

The next class of edge ornament is rather later than
the earliest specimens of the first, and comprises

204 HISTORICAL SKETCH OF BOOKBINDING.

different modes of painting and colouring the edges
underneath the gold, with or without the combination of
tooling. Such work is very difficult of reproduction ; a
good deal of the charm of it lies in the painted parts,
and these being worn with age are but rarely visible in
their integrity. As examples, however, of the results
attained, we may mention two folios in the British
Museum. Both are German bindings of the sixteenth
century, the first entitled De Maria Virgine, Canisius,
Ingolstadii, 1577, from the library of Albert V., Duke
of Bavaria; the other Der Stat Nurnberg Verneute
Reformation, Franckfurt am Main, 1566. The edges
are fairly well preserved, and the figures of the Virgin
and Child which are painted on the one, and the arms
of Nuremburg on the other, are clearly seen. The latter
is the best planned and executed design ; the details of
the painted arms are most delicately tooled, and the rest
of the design is thrown up by means of the ground or
field being matted down by a small punch very carefully
worked.

Another German binding of the same date, Auslegung
des Evangellii Matthcei, Leipzig, 1575, in the South
Kensington Museum, has a quaint and well-disposed

HISTORICAL SKETCH OF BOOKBINDING. 205

painting of the Day of Judgment on the fore-edge
which is not gilded. There is a beautiful pearl embroi-
dered book in the same collection, mentioned in the
paper on embroidered bindings. A New Testament
and Psalms in Dutch, 1594, which has an elaborate
painting of numerous figures on the fore-edge carried out
in the most delicate water-colours in such a manner as
to defy reproduction. This, again, is one of the few
specimens executed neither under nor over gold. Per-
haps, on the whole, some of the finest specimens of this
class are the seven folio volumes in the South Kensington
Museum which comprise the complete works of Luther.
They are dated Jena, 1572 — 1581, and are bound in
brown calf, elaborately tooled. The volumes being very
thick, the edges offer considerable scope for ornament.
The only part painted is the shield of Saxony in the
centre of each fore-edge, the remainder of the space
being filled up with complicated arabesques and
Renaissance ornaments.

While on this subject, I may mention that in the year
1875 there was offered to the trustees of the British
Museum a set of 170 volumes, formerly belonging to
Odorico Pillone of Belluno, and at that time in the

206 HISTORICAL SKETCH OF BOOKBINDING.

possession of Signor Bayolle, of Venice, a relative of
Count Pillone. These books were remarkable for being
adorned by Cesare Vecellio, a nephew of the great Titian
and author of " Costumes Ancient and Modern, of
Different Parts of the World, with discourses on the
same," published at Venice in 1590, and again in 1598.
In this discourse, which treats of the dress of a " gentil
donna" of Civital di Belluno, Vecellio mentions with
great enthusiasm the Casa di Pillone, one of the chief
families of the little town, and their charming villa of
Casteldardo. Cesare Vecellio was, no doubt, a friend and
favourite at this villa, and hence his brush and pen
ornamented a considerable portion of its fine library.
Twenty out of these 170 volumes, clad in vellum
wrappers, have these wrappers enriched by designs in
pen and ink or washed in with Indian ink by Vecellio.
Over 140 are remarkable for their fore-edges being
painted by the same hand. Most of these are folios
of the second half of the i5th or first part of the
1 6th century, clad in dark leather, and creamy pig-skin,
rough with deeply stamped devices on bosses of brass,
and fastened with clasps or strings. Such books were
commonly placed with their backs to the wall and their

HISTORICAL SKETCH OF BOOKBINDING. 207

fore-edges exposed, and the latter, being thick, presented
a fine field for the pencil of Vecellio. The late Sir
Stirling-Maxwell thus described some of these edges :
" Vecellio has generally contented himself with a single
figure grandly designed and boldly coloured. St.
Jerome, sometimes in the red robes of the cardinal,
sometimes in the semi-nudity of the hermit, appears in
various attitudes on the fore-edges of the portly edition
of his works, printed by Froben at Basle in 1537.
Augustine's De Civitate Dei, Venice, 1494, has that good
bishop in his study, with a view of Hippo, I presume, by
the seashore, in the back-ground, looking very like
Venice. Galen's Opera, Basle, 1529, is decorated with
a doctor in his scarlet robes, and hat trimmed with
ermine. Dante, Venice, 1491, of course has the well
known figure in red with the capucho of old Florence.
The Dictionarium of Calepin, Lugduni, 1578, has a vase
with a tall flower of many blossoms ; Eutropius, Basle,
1532, shows the heads of three emperors ; and Suetonius,
Basle, 1533, the same number of gold medallions on a
light blue ground." Though the trustees of the Museum
did not purchase this fine Venetian library, it is still in
this country, and it is by the courtesy of its present

208 HISTORICAL SKETCH OF BOOKBINDING

owner that I have been enabled to give this account
of it.

In the present day, little is done in the direction of
painted edges. Gilding on marbled or plain coloured
edges appears to be the only way in which this luxe des
livres is carried out. The edges are for this purpose
first marbled, the colours being used rather sparingly ;
when dry slightly rubbed with very fine sand-paper to
take off the roughness of the colour, and then burnished
with an agate. The size is then lightly applied, the gold-
leaf put on at once, and finished off as in ordinary edge
gilding. When dry the marble appears through the
gold. An inverted form of this process appears in what
the French call " Dorure sur tranches Damassees." This
consists of first gilding the edge, slightly burnishing to
fix the gold, and then marbling in the ordinary way.
When the colours are dry a further burnishing is all that
is necessary.

The last class deals with landscape representations
on the fore-edge, a mode of decoration of which there
are no known English examples before the latter half
of the 1 8th century. It is effected in the following
manner: — When the edges are well scraped and burnished

HISTORICAL SKETCH OF BOOKBINDING. 209

they are fanned out, and in this position confined
between two boards and tied tightly on each side. A
subject is then painted on them in either water-colours
or some sort of stain or coloured ink free from body
colour. When perfectly dry the boards are untied and
the leaves take their proper position. The book is then
put in the press and thinly gilt once, the gold being
flattened by the burnisher without polishing. Another
coating of gold is then applied, and it is burnished in the
usual way. The first coating of gold protects the
colours, and the second, penetrating the first, unifies the
whole, so that it is completely identified with the leaves.
When the volume is closed the picture is not seen for
the gold, but when the leaves are drawn out in the pro-
cess of opening, it at once becomes apparent. The only
thing necessary for the success of this mode of decoration
is that the objects should always be drawn a little short,
so that they attain their full height by the spreading of
the leaves. The man whose name is especially identified
with this work is Edwards of Halifax, and his books are
pretty frequently met with.

A recent specimen of this kind of work may be seen
on the British Museum copy of Mr. Loftie's Kensington,

p

210 HISTORICAL SKETCH OF BOOKBINDING.

Picturesque and Historical 1883, the fore-edge having
two small views painted on it by Mr. Luker, junior.
This is by far the most attractive form of edge de-
coration, with the exception, perhaps, of a really well-
planned and executed design of the first class ; it needs,
of course, an artist to make the water-colour drawing,
and for the book also to be printed on rather thin paper,
but with those two conditions it can be a wholly satisfac-
tory form of adornment. The modern fashion of print-
ing books on paper like cardboard is utterly destructive
of any of the three classes of decoration treated in this
paper.

APPENDIX IV.

EARLY DOCUMENTS RELATING TO THE CRAFT.

IN the Accounts of Piers Courteys, Keeper of the
King's Great Wardrobe in the City of London between
the 8th April and the 29th of September 1480, 20 Edw.
IV., are the following disbursements : —

And to ALICE CLAVER for the makyng of xvj laces
and xvj tasshels for the garnysshing of divers of the
Kinges bookes ij" viijd ; and to Robert Boillett for blac[k]
papir and nailles for closyng and fastenyng of divers
cofyns from the Kinges grete Warderobe in London unto
Eltham aforesaid vd ; PIERS BAUDUYN stacioner for bynd-
ing gilding and dressing of a booke called Titus Livius
xxs for binding gilding and dressing of a booke of The

p 2

212 HISTORICAL SKETCH OF BOOKBINDING.

Holy Trinite xvj8 ; for binding gilding and dressing of
a booke called FRO[I]SSARD xvj8 for binding gilding and
dressing of a booke called the Bible xvj8 for binding,
gilding, and dressing of a booke called Le Gouvernement
of Kings and Princes xvj8 for binding and dressing of
thre smalle bookes of Frenche price in grete vj8 viijd ;
for the dressing of ij bookes whereof oon is called La
Forteresse de Foy and the other called The Book of
Josephus iij8 iiijd; and for binding and gilding and
dressing of a booke called The Bible Historial xxs.

(Privy Purse Expenses of Elizabeth of York : Wardrobe
accounts of Edward the Fourth. Edited by Sir H. N.
Nicolas, pp. 125-6. Ed. 1830.)

Thomas Berthelet's Bill, as King's Printer, for
Books sold and bound, and for Statutes and
Proclamations furnished to the Government in
I54I—43-

This document is a schedule, in the form of a small
quarto book of twelve leaves of paper, annexed to a
parchment warrant under the royal sign manual of

HISTORICAL SKETCH OF BOOKBINDING. 213

Henry VIII., directing payment thereof to be made by the
treasurer of the Court of Augmentations. The schedule
is written by the same hand as the warrant ; but on the
latter is a receipt or discharge, written by Berthelet
himself, 29 September, 35 Hen. VIII [1543], four days
after the date of the warrant.

The reader cannot fail to notice how numerous copies
of biblical and theological books occur, as provided or
bound for the King ; among the former are the New
Testament, printed in English and Latin, and among
the latter, the commentaries of the King's "favorite
author," Thomas Aquinas, and the Institution of a
Christian Man. The prices and bindings of these
various works are highly interesting.

Much of the bill relates to statutes and proclamations
printed for the King. The statutes were, at that time,
promulgated in the form of proclamations ; and this
ancient practice is not a little illustrated by the particular
instances stated in Berthelet's bill. On this subject, the
introduction to the authentic edition of the Statutes of
the Realm, published by the Record Commissioners,
may be consulted (Chap. V. § 2), in the Appendix to
which is given a list of old statutes printed by the several

214 HISTORICAL SKETCH OF BOOKBINDING.

King's printers, wherein Berthelet's name occurs almost
constantly from 1509 to 1546.

In addition to the autographs of the King and his
printer, the document bears the signature of Sir Thomas
Audley, chancellor, at the end of the bill.

By the King.

Henry Rex.

We wolle and commaunde you that of suche our
Treausour as in your handes remayneth ye doe ymedyatly
upon the sighte herof pay or doe to be paide unto our
trustie servaunte Thomas Berthelett our prynter the
somme of one hundred seventene poundes sixepence and
one halfepeny sterlyng. The whiche is due and owyng
by us unto hym for certeyne parcelles delyvered by the
seid Thomas unto us and other at our commaundement
as in this booke, whereunto this our present warraunte
is annexed particularly dothe appere. And these our
lettres signed with our hande shalbe unto you a suf-
fycient warraunte and discharge for the same. Yoven
under our Signemanuell, at our Manour of Wodstooke,
the xxiiijtj of September, the xxxv yere of our reigne.

HISTORICAL SKETCH OF BOOKBINDING. 215

To our right trustie and righte welbeloved Sr*
Edward Northe, Knyghte, treausourer of thaugmen-
taciouns of the Revenues of our Crowne.

Receyved of sir Edward North, Knight, treasourer
of the Augmentations, the sayd summe of one
hundred seventene poundes vj. d. ob. according to
the tenour of this warrant, the 29 day September,
a* regni regis Henrid viij, xxxv.

Per me Thomam Bertheletum.

Anno Domini 1541, et anno regni serenissimi et
invictissimi Regis Henrici Octavi, Dei gratia Anglie
Francie et Hibernie Regis, fidei Defensoris, et in
terra Ecclesie Anglicane et Hibernice Supremi
Capitis, tricesimo tercio.

In primis, delyvered to my Lorde Chauncellour, the
Ixth day of December, xxt! Proclamacons made for the
enlargyng of Hatfeld Chace, printed in fyne velyme, at
vjd- the pece. Summa, los.

Item delyvered to the Kinges hyghnes, the xxx day
of December, a Newe Testament in englisshe and latyn,
of the largest volume, price 35.

216 HISTORICAL SKETCH OF BOOKBINDING.

Item delyvered to the Kinges hyghnes, the vj day of
January, a Psalter in englisshe and latyne, covered with
crimoysyn satyne, 2$.

Item delyvered the same tyme, a Psalter, the Proverbes
of Salomon, and other smalle bookes bounde together,
price i6d.

Item delyvered to the Kinges hygnes, for a litle
Psalter, takyng out of one booke and settyng in an other
in the same place, and for gorgious byndyng of the same
booke, xijdt and to the Goldesmythe, for taking of the
claspes and corner, and for settyng on the same ageyne
xvjd> Summa 2$. ^d.

Item delyvered unto the Kinges hyghnes, the xv day
of January, a New Testament in latyne, and a Psalter
englisshe and latyne, bounde backe to backe, in white
leather, gorgiously gilted on the leather ; the bookes
came to ijs> the byndyng and arabaske drawyng in golde
on the transfile, iiijs- Summa 6s.

Item delyvered to the Kinges hyghnes, the xviij day of
January, a booke called Enarradones Evangeliorum
Dommicalium, bounde in crymosyn satyne; the price

3*- 4^-

Item delyvered to the Kinges hig[h]nes, the xxiij day

HISTORICAL SKETCH OF BOOKBINDING. 217

of January, a booke of the Psalter in englisshe and
latyne, the price viijd- ; and a booke entiteled Enarrationes
Evangeliorum Dominicalium, the price xijdi ; and for the
gorgious byndyng of them, backe to backe, iij8' iiijd*
Summa $s.

Item delyvered to Maister Hynwisshe, to the Kinges
use, a paper booke of vj queres royall, gorgiously bounde
in leather is. 6d.

Item delyvered to my Lorde Chauncellour, the xxv day
of January, vjc Proclamacions concernyng the Kinges
stile ; eche of them conteynyng one leafe of bastarde
paper, at jd> the pece. Summa 50$.

Item delyvered to my Lorde Chauncellour, the iiij day
of February, vjc* Proclamacions concernyng eatyng of
whyte meates ; eche of them conteynyng one hole leafe
of Jene paper, at ob. the pece, 25*.

Item delyvered the xxvth day of February, to the
Kinges hyghnes, Ambrosius super epistolas sancti Pauli
xxd.

Item one Psalter in englisshe, in viij° xxd

Item ij litle Psalters, xvjdl Summa $s. &d.

Item delyvered to the Kinges hyghnes, the laste day
of February, xij bookes intitled Summaria [in] Evangelia

2i8 HISTORICAL SKETCH OF BOOKBINDING.

et Epistolas ut leguntur, ij bounde in paper hordes at
viijd> the pece, and x in forrelles, at vjd the pece,
6s. ^d.

Item delyvered to the Kinges hyghnes, the iij day of
Marche, one Summaria in Evangelia et Epistolas, gor-
giously bounde, and gilte on the leather, price 2$.

Item delyvered the same day, ij bookes, intitled
Condliaciones locorum Althemeri, price 45.

Item delyvered to the Kinges hyghnes, the same day,
one Opus Zmaragdi, price 45. Sd.

Item delyvered to the Kinges hyghnes, the vtb day of
Marche, one Novum Testamentum, bounde with a Sum-
maria, price 2s. »

Item delyvered to the Kinges hyghnes, the ix day
of Marche, one Novum Testamentum, in latyne, bounde
with a Summaria super Epistolas et Evangelia, zs.

Item delyvered to the Kinges hyghnes, the xij* day of
Marche, one Authoritas allegabiles sacre scripture,
with one Summaria in Evangelia et Epistolas, gor-
giously bounde in whyte, and gilte on the lether, iiij
Item, Sedulius in Paulum, at iij8' Item, Petrus Lum-
berdus in Epistolas sancti fault, at iijs iiijd* Item,
Hometie ven. Bede in Epistolas Dominicalis, at xvjd< Item,

HISTORICAL SKETCH OF BOOKBINDING. 219

Questiones Hugonis super Epistolas sancti Fault, ijs.
Summa 13^. 8d.

Item delyvered to the Kinges Maiestie, the xv day
of Marche, Thomas de Aquino, in Evangelia Dominicalia,
et Homelie Bede, una ligati cum alijs ; price zs. 8d.

Item, Psalterium in latyne, and a Psalter in englisshe,
una legati ; price zs. 8d.

Item, Arnobius super psalmos, 25.

Item, Hay mo super psalmos, zs.

Item, Jo. de Turre-cremata super Evangelia, zs. 8d.

Item, Omelia Haymonis super Evangelia, i6d.

Item delyvered to the Kinges hyghnes, the xvj day of
Marche, one Arnobius super Psalterium, bounde with
other bookes, zs.

Item delyvered to the Kinges hyghnes, the xviij day of
Marche, one Arnobius super Psalterium, and one Psalter
in englisshe, price zs. 8d.

Item delyvered to the Kinges hyghnes, the xix day of
Marche, .ffb»«7/<? Bede hyemales, bounde with his Homilijs
on the Pistles, price zs. 8d.

Item, Homilie Bede aestivales, \ bound alone, price
zod.

Item delyvered to the Kinges hyghnes, the xxiij day of

220 HISTORICAL SKETCH OF BOOKBINDING.

Marche, Homelie Bede pars estivalis, bounde with his
Homilies on the Epistoles, price 2s. %d.

Item the same day, delyvered to his grace, Enarradones
sancti Thome de Aquino super Evangelia, bounde with
Homilijs Bede super Epistolas, the price 2$. &d.

Anno Domini 1542.

Item delyvered to the Kinges hyghnes, the xxvtl day
of Marche, one Psalter in latyne of Colines printe, and
one in englisshe, bounde together; the price ijs viiijd*
Item, Arnobius super Psalterium^ and a Psalter in
englisshe, bound together, price ij" viijd< Item, San\c\tus
Thomas de Aquino super Matheum, the price ijs> Summa
6*. 8d.

Item delyvered to the Kinges hyghnes, the xxvij day of
Marche, one Cathena aurea divi Thome de Aquino in
Evangelia Dominicalia, price ij iiijdl

Item the same day delyvered to his hyghnes, one
Postilla Guilielmi Par[zs]iensi's, price ijs< Summa 5*. 4^.

Item delyvered to the Kinges hyghnes, the xxviij day
of Marche, one Enarradones sancti Thome de Aquino in
Evangelia Dominicalia, with Homilijs ven. Bede in

HISTORICAL SKETCH OF BOOKBINDING. 221

Epistolas ut per totum annum leguntur in templis ; price
ijs viijdl Item, Psalterium in latine, with Arnobius super
Psalmos ; the price ijs viijd> Item, Faber super Epistolas
Catholicas, the price xxd> Item, Dydimus Alexandrianus,
with Beda upon the Epistolas Catholicas, price ijs- Item,
one Catanus super Evangelia, price iijs- iiijd- Summa

I2S.

Item delyvered to the Kinges hyghnes, the xxx day of
Marche, one Cathena Aurea divi Thome super Evangelia
in duobus, price 5^.

Item delyvered the same day to his grace, one
Dionysius Carth. ; and a Faber Stampe super Epistolas
Catholicas, price 3$.

Item delyvered the same day, one Dydimus Alex-
andrinus, and Beda super Epistolas Catholicas, price zs.

Item delyvered to the Kinges hyghnes, the ij day of
Aprill, one Thomas de Aquino in Evangelia Dominicalia,
and Beda super Epistolas, bounde together, price zs. %d.

Item delyvered to the Kinges hyghnes, the same day,
one Homilie Johannis Chrysostomi in Matheum, the
price zs.

Item, one Homilie Jo. Chrysostomi in Johannem Mar-
ciim et Lucam, price zs. $d.

222 HISTORICAL SKETCH OF BOOKBINDING.

Item delyvered to the Kinges hyghnes, the xj' day of
Aprill, Dionysium Carthus. in Evang. in viij, bounde in
ij, price 5*.

Item delyvered the same day, to my Lorde Chaun eel-
lour of England, iiijc Proclamacions concernyng stealyng
of haukes egges, and kepying of soure haukes ; eche con-
teynyng a leafe of basterde paper, at jd the pece. Summa

35*-

Item delyvered to my Lorde Chauncellour the xvj day
of Aprill, iiijc Proclamacions concernyng stealing of
haukes egges, and kepyng of soure haukes ; eche of them
conteynyng a hole leaffe of Jene paper at ob. the pece.
Summa i6.y. %d.

Item for iiijc of the same, that were new made ageyne,
at ob. the pece. Summa i6s. 8d.

Item delyvered to my Lorde Chauncellour of England,
the xx day of Aprill, all these Actes followying, printed in
Proclamacions ; that is to wete, vc of the Acte concern-
yng counterfeit lettres or privie tokens, to receyve money
or goodes in other mens handes; eche of them con-
teynyng a leaffe of Jene paper, at ob. the pece, 2os. io</.

Item delyvered vc of the Actes concernyng bying of
fisshe upon the see ; cache of them conteynyng one hole

HISTORICAL SKETCH OF BOOKBINDING. 223

leaffe of basterde paper, at jd* the pece. Summa
41 s. Sd.

Item delyvered ijc of the Acte concernyng foldyng of
clothes in North Walles, eche of them conteynyng halfe a
leaffe of basterde paper, at ob. the pece. Summa Ss. ^d.

Item vc of the Acte concernyng pewterers ; eche of
them conteynyng one hole leaffe of basterde paper, at jd •
ob. the pece. Summa 3/. 25. 6d.

Item c of the Acte concernyng kepyng of greate
horsses ; eche of them conteynyng ij hoole leafes of bas-
terde paper, at ijd> the pece. Summa 4/. 3*. 4^.

Item vc of the Acte concernyng crossboues and
hande gonnes ; eche of them conteynyng iij holle leaves
dim. of basterde paper at iijd* ob. the pece. Summa
7/. 5-y. lod,

Item vc of the Acte concernyng the conveyaunce of
brasse, latene, and bell mettall over the see ; eche of
them conteynyng one holle leafe of basterde paper, at jd>
the pece. Summa 41$. 8d.

Item vc of the Acte ageynst conjuracions, witchecraftes,
sorcery, and inchauntementes ; eche of them conteynyng
one holle leafe of Jene paper, at ob. the pece. Summa
2 os. iod.

224 HISTORICAL SKETCH OF BOOKBINDING.

Item vc of the Acte for the mayntenaunce of artillarie,
debarryng unlaufull games ; eche of them conteynyng
iiij holle leaves of basterde paper, at iiijd< the pece.
Summa 8/. 6.r. 8d.

Item vc of the Acte concernyng the execucion of
certeyne Statutes; eche of them conteynyng iij hoole
leaves dim. of bastarde paper, at iijd* ob. the pece.
Summa 7/. 55. tod.

Item vc of the Acte for bouchers to selle at their libertie,
by weyghte or otherwise ; eche of them conteynyng one
holle leafe of basterde paper, at idt the pece. 41 s. &/.

Item vc of the Acte for murdre and malicius bloud-
shed within the Courte; eche of them conteynyng iij
hole leaves dim. of basterde paper at iijd- ob. the pece.
Summa 7/. 5^. io<£

Item xij of the Acte concernyng certeyne Lordships,
translated from the Countie of Denbigh to the Countie
of Flynt ; eche of them conteynyng one hoolle leaffe of
basterde paper, at jd> the pece. Summa i2d-

Item vc of the Acte concernyng false prophesies upon
declaracion of armes, names, or badges ; eche of them
conteynyng a dim. leafe of basterde paper, at ob. the
pece, 2os.

HISTORICAL SKETCH OF BOOKBINDING. 225

Item vc of the Acte concernyng the translation of the
saynctuarie from Manchestere to Westechester ; eche of
them conteynyng one hoolle leaffe dim. of basterde
paper, at jd ob. the pece. Summa 3/. 2s. 6d.

Item vc of the Acte for worsted yarne in Northefolke ;
eche of them conteynyng a hoolle leaffe of basterde paper,
at jd the pece. Summa 41.$-. 8d.

Item vc of the Acte for confirmacion and continuacion
of certeyne Actes ; eche of them conteynyng one
hoolle leafe of basterde paper, at jd> the pece. Summa
4is. Sd.

Item vc of the Acte for the true making of kerseyes ;
«che of them conteynyng one holle leafe dim. of basterde
paper, at jd ob. the pece. Summa 3/. zs. 6d.

Item vc of the Acte expondyng a certeyn Statute con-
cernyng the shippyng of clothes ; eche of them con-
teynyng a dim. leafe of basterde paper, at ob. the pece.
Summa 20$. lod.

Item for the byndyng of ij Primmers, written and
•covered with purple velvet, and written abowte with
golde, at iij6 the pece. Summa 65.

Item delyvered to the Kinges hyghnes, the vj day of
Maye, xij of the Statutes made in the Parliament hold en

Q

226 HISTORICAL SKETCH OF BOOKBINDING.

in the xxxiij11 yere of his moste gracious reigne ; at xvjd
the pece. Summa i6s.

Item delyvered to Mr. James, Maister Denes servaunte,
for the Kinges hyghnes use, the xvjth day of Maye, a
greate booke of paper imperiall, bound after the facion
of Venice, price 15*.

Item delyvered to the seid Maister James, for the
Kinges hyghnes use, another greate booke of paper
imperiall, bounde after the Italian fascion, the price, 14$.

Item delyvered the xiiij day of June, to Maister
Daniell, servaunte to Maister Deny, to the Kinges
hyghnes use, ij bookes of paper royall, bounde after the
Venecian fascion, the price, iSs.

It delyvered to Maister Secretory, Maister Wrysley,
the v day of November, iij dosen bookes of the
Declaracion of the Kinges hyghnes title to the soverayntie
of Scotland, at iiijd the pece. Summa 12*.

Item delyvered to Maister Jones, servaunte to Maister
Deny, the xxx daye of December, v Tullius de Officijs,
bounde in paper bourdes, at xvjd the pece, and one
gorgiously gilted for the Kinges hyghnes, price iijs iiijd.
Summa, ios.

Item for byndyng of a paper booke for the Kinges

HISTORICAL SKETCH OF BOOKBINDING. 227

hyghnes, and the gorgious giltyng thereof, delyvered the
xiiij day of January to Mr. Turner, 35. ^d.

Item delyvered to Maister Hynnige, for the Kinges
hyghnes use, the vij day of Febr. a greate paper booke
of royall paper, bounde after the Venecian fascion, price
8*

Item delyvered the ix day of February, to my Lorde
Chauncellour, vjc of the Proclamacions for white meates,
at ob. the pece, 25^.

Item delyvered the vj day of Marche, iij bookes of
" The Institution of a xp'en man," made by the clergy,
unto the Kinges most honerable Counsayll at xxd the
pece, 5*.

Anno Domini 1543.

Item delyvered the vj day of Aprill, to Maister Henry
Knyvett, for the Kinges hyghnes, a bridgement of the
Statutes, gorgiously bounde, 5*.

Item delyvered to the Kinges moost honerable Coun-
saill, the viiij day of Aprill, iij litle bookes of the
Statutes, price xijd. Item iij bookes of the vj Articles,
price vjd. Item iij of the Proclamacions ageynst Ana-

Q 2

228 HISTORICAL SKETCH OF BOOKBINDING.

baptistes, price vjd. Item iij Proclamacions of ceremones,
price vjd. Item iij of the Injunctions, price vjd. Item
iij of holy dayes, price iijd. Summa, 3$. $d.

Item delyvered to my Lorde Chauncellour of England,
the iiij daye of Maye, ijc Proclamacions concernyng the
price of suger, conteynyng one hole leafe of basterde
paper, at jd- the pece. Summa, i6s. 8d.

Item for the byndyng of a booke written on vellim, by
Maister Turner, covered with blacke velvet, i6d.

Item delyvered to my lorde Chauncellor, the xxxj
day of Maye, vc of the Acte for the advauncement of
true religion and abolisshment of the contrarie, made
out in Proclamacions ; eche of them conteynyng iii leaves
dim. of greate basterde paper, at iijd. ob. the pece.
Summa, 7/. $s. lod.

Item delyvered vc of the Acte for the explanacion of
the statutes of willes, made out in Proclamacions ; eche
of them conteynyng iii leaves of great basterd paper, at
iijd. the pece. Summa, 6s. $d.

Item delyvered vc of the Acte agaynst suche parsones
as doe make bankeruptes, made out in Proclamacions,
eche of them conteynyng two greate leaves of basterde
paper, at ijd. the pece. Summa, 4/. 3*. 4^.

HISTORICAL SKETCH OF BOOKBINDING. 229-

Item delyvered vc of the Acte for the preservacion of
the ryver of Severne, made oute in Proclamacions ; eche
of them conteynyng two small leaves of paper, at jd. the
pece ; 41 s. %d.

Item delyvered vc of the Acte concernyng collectours
and receyvours, made out in Proclamacions ; eche of
them conteyning a leafe dim. of paper, at jd. the pece.
Summa, 41$. %d.

Item delyvered vc of the Acte for the true making of
coverlettes in Yorke, made oute in Proclamacions ; eche
of them conteyning ij smalle leaves of paper, at jd. the
pece. Summa, 41$. 8^.

Item delyvered vc of the Acte for the assise of cole and
woode, made owt in Proclamacions ; eche of them con-
teynyng a leafe of smalle paper, at ob, the pece. Summa,

Item delyvered vc of the Acte, that persons, beyng noe
common surgions, may mynistre outwarde medycines,
made oute in Proclamacions ; eche of them conteynyng
a leafe of smalle paper, at ob. the pece. Summa,

2OS. lOd.

Item delyvered vc of the Acte to auctorise certeyne of
the Kinges majesties counsaill to sett prices upon wines ;

230 HISTORICAL SKETCH OF BOOKBINDING.

made out in Proclamacions, eche of them conteynyng
a leafe of paper, at ob. the pece. Summa, 2os. lod.

Item delyvered vc of the Acte for the true making of
pynnes, made out in Proclamacions ; eche of them con-
teynyng halfe a leafe of paper, at ob. the pece. Summa,
los. $d. \d.

Item delyvered vc of the Acte for the true making of
frises and cottons in Wales, made oute in Proclamacions ;
eche of them conteynyng a leafe of paper, at ob. the
pece. Summa, zis. Sd.

Item delyvered fiftie of the Acte for pavying of
certeyne lanes and stretes in London and Westm., made
out in Proclamacions ; eche of them conteynyng ij leaves
of smalle paper, at jd. the pece, 45. 2d.

Item delyvered fiftie of the Acte for knyghtes and
burgeses to have places in the parliament, for the county-
palantyne and citie of Chester, made out in Proclama-
cions ; eche of them conteynyng a leaffe of smalle paper,
at ob. the pece ; 2$. id.

Item delyvered fourtie bookes of the Acte for
certeyne ordenaunces in the Kinges majesties dominion
and principalitie of Wales, at iiijd< the pece. Summa

HISTORICAL SKETCH OF BOOKBINDING. 231

Item delyvered to the Kinges highnes, the firste day
of June, xxiiij bookes intitled "A necessary doctrine for
any Christen man," at xvjd. the pece. Summa, 32^.

Item delyvered to the Kinges highnes, the third day of
June, xxiiij bookes intitled "A necessary doctrine for any
Christen man," at xvjd the pece. Summa, 325.

Item delyvered to the Kinges hyghnes, the iiij day of
June, xxiiij of the booke intitled " A necessary doctryne
for any Christen man," at xvjd the pece. Summa, 32^.

Item delyvered to Maister Stokeley, the xij day of
June, xij Proclamacions for the advancement of true
religion, at iijd. ob. the pece ; 3-r. 6d.

Item xx of the Proclamacions of the Acte for explana-
cion of the statute of willes, at iijd. the pece. Summa,

5*

Item xj proclamacions of the Acte of bankerupte, at

ijd. the pece. Summa, y. $d.

Item xx Proclamacions of the Acte for Severne, at jd.
the pece. Summa, zod.

Item xx Proclamacions of the Acte of collectours and
receyvours, at jd. the pece, 2od.

Item xx Proclamacions of the Acte for making of
coverlettes in Yorke, at jd. the pece. Summa, 2od.

232 HISTORICAL SKETCH OF BOOKBINDING

Item xx of the Proclamations, that persones beyng noe
comon surgions may ministre outewarde medicynes, at
ob. thepece. Summa, iod.

Item xx Proclamations of the Acte for certeyne of the
Kinges maiesties counsaill to sett prices of wynes ; at ob.
the pece. Summa, lod.

Item xx Proclamations of the Acte for true making of
pynnes, at qa the pece, $d.

Item xx Proclamacions of the Acte for true making of
frises and cottons in Wales ; at ob. the pece. Summa,

Summa totalis, cxvij//. v']d. ob.
THOMAS AUDELEY.

Cancellarius.

The original MS. of this account was purchased by the
British Museum in 1870. Mr. Arber has reprinted it in
his Records of the Stationers' Company, and states that
the amount of the account is equal to ^1,200 of present
money.

HISTORICAL SKETCH OF BOOKBINDING. 233

AN ACTE CONCERNING PRINTERS AND BINDERS
OF BOOKES.

Where as by the provision of a Statute made in the
firste yere of the reygne of Kynge Richarde the thirde, it
was provided in the same acte, that all straungers repayr-
yng into this realme, might lawfully bring into the saide
realme painted and written bokes to sell at their libertie
and pleasure. By force of which provision there hath
comen into this realme sithen the makynge of the same,
a marveilous number of printed bookes and dayly doth.
And the cause of the making of the same provision
semeth to be, for that there were but few bookes and
fewe printers within this realme at that time, whiche could
well exercise and occupie the said science and crafte of
printynge : Neverthless, sithen the making of the saide
provision, many of this realme, being the Kinges naturall
subjectes, have given them so diligently to lerne and
exercise the saide craft of printinge, that at this day there
be within this realme a great number of connyng and
experte in the said science or crafte of printinge as able
to exercise the saide crafte in all pointes, as any straunger

234 HISTORICAL SKETCH OF BOOKBINDING.

in any other realme or countrie. And furthermore where
there be a great numbre of the Kinges subjectes within
this realme, whiche live by the crafte and misterie of
binding of bookes, and that there be a great multitude
wel expert in the same : yet all this not withstandinge
there are divers persons that bringe from beyonde the
sea great plentie of printed bookes, not onely in the
Latin tongue, but also in our maternall engiishe tongue,
some bounde in bourdes, some in lether, and some in
parchiment, and them sell by retayle, wherby many of
the Kinges subjectes, being binders of bookes, and
havinge none other facultie wherwith to get their livinge,
be destitute of worke, and like to be undone : except
some reformacion herin be had. Be it therefore enacted
by the Kinge our soveraigne lorde, the lordes spirituall
and temporall, and the comons in this present parlia-
ment assembled, and by auctoritie of the same, that
the said proviso, made the first yere of the said King
Richarde the thirde, from the feast of the nativitie of
our lorde god next commyng, shall be voyde and of none
effecte.

And be it further enacted by the auctorite afore saide,
that no person or persons resiant or inhabitant within

HISTORICAL SKETCH OF BOOKBINDING. 235

this realme, after the saide feast of Christmas next
coming, shal bie to sel againe any printed bookes
brought from any partes out of the Kinges obeysance,
redie bounden in bourdes, lether, or parchement, upon
peine to lose and forfaite for every booke bou(n)d out of
the saide Kinges obeisance, and brought into this
realme, and bought by any person or persons within the
same to sell againe contrarie to this Acte, sixe shillyng
eight pence.

And further be it enacted by the auctorite aforesaide,
that no person or persons inhabitant or resiant within
this realme, after the saide feaste of Christmas, shall bie
within this realme, of any straunger borne out of the
Kinges obedience other then of denizens, any maner of
printed bookes brought from any the parties beyond
the sea, except only by engrose and not by retail ; upon
peine of forfaiture of vi s viii d for every boke so bought
by retaile, contarie to the fourme and effecte of this
estatute, the said forfaitures, to be always levied of the
biers of any suche bookes, contrarie to this act : The one
halfe of all the said forfaitures to be to the use of our
soveraigne lorde the Kinge, and the other moitie to be
to the partie that wyll lease or sue for the same in any

236 HISTORICAL SKETCH OF BOOKBINDING.

of the Kinges courtes, be it by bil, plaint, or infor-
macion, wherein the defendant shall not be admitted to
wage his law, nor no protection ne essoen shall be unto
him allowed.

Provided alway and be it enacted by the auctorite
beforesaide, that if any of the saide printers or sellers of
printed bokes, inhabited within this realme at any time
hereafter happen in such wise to enhance and encreace
the prices of any such printed bokes in sale or binding,
at to highe and unreasonable prices, in such wise as
complaint be made thereof unto the Kinges highnes,
or unto the lorde chauncellour, lorde treasurer, or
any of the chiefe Justices of the one benche or of the
other : that then the same lorde chauncellour, lorde
Tresorer and ii chief Justices, or twoo of any of them,
shall have power and auctoritee to enquire thereof as well
by the othes of xii honest and discrete persons, as other
wyse by due examinacion by their discrecions. And
after the same enhansing and encreasyng of the saide
prices of the saide bookes and binding shall be so
founde by the said xii men, or otherwise by examinacion
of the saide lorde chancellour, lorde tresorer, and
Justices, or two of them : that then the same lorde

HISTORICAL SKETCH OF BOOKBINDING. 237

chauncellour, lorde treasourer, and Justices, or two of
them at the leaste, from time to time, shall have power
and auctorite to reforme and redresse suche enhansyng of
the prices of printed bookes, from time to time by their
discretions, and to limit prices as well of the bookes as
for the bindyng of them : and over that the offender, or
offenders thereof, being convict by the examinacion of
the same lord chauncellour, lorde tresourer and two
justices or two of them, or otherwise, shall lose and
forfaite, for every booke by them solde, whereof the
price shall be inhaunsed, for the booke or bindynge
thereof iii. s. iiii. d. the one halfe thereof shalbe to
the Kinges highnes, and the other halfe unto the parties
greeved, that will complaine upon the same, in maner
.and forme before rehersed.

.EXTRACT FROM THE EARLY MINUTES OF THE STATIONERS'
COMPANY.

Anno xix° Rie Elizabeth

1577
xxi October.

At a Court holden this same daie the bookbinders
being pnt. and shewinge their griefs and the Mr. Wardens

238 HISTORICAL SKETCH OF BOOKBINDING.

and Assistants with the rest of the Liverie beinge pnt.
and hearing the same it was ordered by assent of all
the said parties as followeth viz.

i. That the bookbinders that be Inglishmen and
Freemen of this Citie shall have woork before strangers
and foryners so that they the same Freeman that be
Inglishman and binders — shall doo their woork work-
manlie and as well as any other would doo it and at as
reasonable rate and price as other workmen will doo the
same kinde of woork.

ij. Item that the said bookbinders so often as they
or any of them shall receyve woorke to be done for any
person shall redelyuer the same wrought and done as it
ought to be to the owners thereof at ye same day and
tyme that was appoynted and agreed uppon and the
receipt thereof betwene the parties whom ye case shall
concern or win iij daies then next following att ye
furthest unles a longer respit uppon some reasonable
cause shallbe obteyned of the owner or owners thereof.

iij. Item that the breakers and infringers of this orde-
nance or of any article thereof shall for every such his

HISTORICAL SKETCH OF BOOKBINDING. 239

offence suffer such punishment by imprisonment or other-
wise as to ye Mr. and Wardens for the tyme being shalbe
thought meete.

EXTRACT FROM STATIONERS' RECORDS, BOOK A. P. 50.

xxv. March, 1586.

Upon complaint made to the right honable the lord
maior and court of Aldermen By Willm. Lobley, John
Oswald, Edward Day and divers others : yt was ordered
by the said court, That the Right Worshipful Mr. Raffe
Woodcocke, Mr. Cuthbert Buckell, Mr. Henry Byllingesley
Aldermen of this citie Should repaire to the Stacon-
ers' Hall in London there to examine and heare such
causes as should be brought before them and thereof
to make certificat. . . . Thereupon the XXVth day of
Marche Ao. dni 1586. And in the eight and twentieth
yere of the reign of our souvergn ladie quene Elizabeth ;
Upon the hearinge of the said cause by the said Comyttees
at the said Hall, yt is uppon the motion of the said
Comittees and by assent of the said complaynantes then
and there ordered and decreed as followithe viz.

i. Ffirst concerninge Stytchinge of bookes : that
there shalbe an explanation of a constitution hereafter

240 HISTORICAL SKETCH OF BOOKBINDING.

made for yt purpose. That is to saye That no Stationer
nor any other person or persons occupyinge the trade of
bookesellinge, bindinge, ffoldinge, or Sowinge of Bookes,
Shall from henceforth binde, sell, utter, or putt to sale
or cause to be bounde, solde, uttered or putt to sale, any
booke in any volume whatsoever which is or shalbe
bored or prycked thoroughe with Bodkyn, Alle, Needle,
or other instrument, and stitched with Thryd, Stryp
of Leather, or other such device, but such onelie, and
none other as shalbe sowed uppon a sowinge presse
as heretofore hath been accustomed, containing any
greater number of Sheetes than is hereafter expressed.
That is to say in the volume called folio there maie be
bound stytched onelie ffortie Sheetes and not aboue. In
the volume called Octavo twelve Sheetes onelie and not
aboue. And in the volume called Decimo Sexto ffyve
or sixe Sheetes at the most and not aboue, uppon paine
of such forfaiture as in the said constitution ys specified.
Provyded alwaies that this constitution or explanacon
or any thinge therein contained shall not extend to
the stytchinge of any the bookes of Statutes not con-
teyninge any moe Statutes than is or hereafter shall
be decreed or published at any one Session of Plament.

HISTORICAL SKETCH OF BOOKBINDING. 241

But that suche Statute booke may be stitched. Any
thinge to the contrarie notwithstandinge.

2. Item that no person or persons occupyinge the
facultie of bindinge, sewinge or foldinge of booke shall
hyer or kepe in work in the said trade of Bookbyndinge,
sewinge or foldinge of booke any person or persons
other than his or their apprentyces of the malekinde
only, or other than journeymen freemen of this citie, or
other than the wyfe or children of the said Bynder or
sower of Books, or other than the children of the Wydow
of any such bynder during her wydowhed but no longer,
uppon payne to be fyned and suffer such further
punishment as by the mr. wardens and assistants or
moore pte of them shalbe thought meete and reasonable.

3. Item that no person or persons being a bookseller
and occupyinge the trade of Retaylinge and Selling of
Books Shall putt any woork That is to saye any bookes
unbounde, to be bounde, unto or by any fforrayner,
Stranger, or to any other person whatsoever that are not
freeman of this citie contrarye to an Acte of Comon
counsell therfore provided as in the said Acte dothe at
large appere uppon the pain and paines in the said
Acte conteined.

Provided always that if any of the companie of
Staconers shalbe charged with offendinge the said Acte
The ptie grieved shall first make his complaint thereof to
the mr. wardens and assistants of the said Companie in
open court in their hall Who thereuppon shall doo their
endevour and haue power and authorytie to take con-
venient order for the Removing or Redresse of the offence.
Or yf they cannot take convenient order therein then
to sett the ptie grieved at libertie to prosecute remedie
in yt behalf according to the said Act in case the
offender or offenders will not stand to their order. Any-
thinge whatoseuer to the contrarie thereof in anywise
notwithstanding^

HISTORICAL SKETCH OF BOOKBINDING. 243

EXTRACT FROM MINUTES OF THE COURT MEETINGS OF

THE STATIONERS' COMPANY, BOOK F, p. 2i8A.

At a Court holden at Stationers Hall on Monday, the
ffourth day of March, Anno Domini 1694.
Present

John Sims, Master.

Henry Mortlock, )
Samuel Loundes. }

Roger Norton,
John Towse,
Edw. Brewster,
Robert Clavell,
Thomas Parkhurst,
William Phillips,
William Rawlings,
George Copping,

i A • . )
) Assistants. \

Samuel Heyrick,
John Richardson,
Richard Simpson,

Richard Chiswell,
,,7 u ^ ., .„
Walter Kettilly,

William Shrowsberry,
Bennett Griffien,
Charles Harper.

A Petition of severall Bookbinders representing the
lowe condition they were brought by the lownesse of
prices and deareness of Lether was exhibited at this
Court beging their Approbation to a table of Rates
therewith presented. And for the better consideration

R 2

244 HISTORICAL SKETCH OF BOOKBINDING.

thereof Mr. Brewster, Mr. Parkhurst, Mr. Clavell, Mr.
Simpson, Mr. Chiswell, Mr. Kettleby, Mr. Shrewsbury,
and Mr. Harper were appointed A Committee to Assist
the Master and Wardens, any three with Mr. and one
Warden to bee of the Quorum and to make report the
next generall Court.

HISTORICAL SKETCH OF BOOKBINDING. 245

A REPORT CONCERNYNG THE STATYONERS.

To the right honorable Sir HENRY BILLINGSLEY
Knight Lord Maior of the Cittie of London and to
ye right Worshipfull the Aldermen his bretheren.

Most humbly shewe and beseach your good Lordship
and worshippes your poore suppliants the booke binders
of the Companie of Stationers in London That whereas
vppon a former Complaynte made in the tyme of Sir
WOLSTON DIXIE Lord Maior [1585-6-7], againste ye nom-
bers of fforreyne[r]s and Straungers then intrudded into
the trade and workes of your poore Suppliauntes who
humblie craved to haue the benefitt of ye Statute vppon
them It pleased his Lordship upon due Consideracon
of your suppliauntes requeste and in right of the
freedome to appoynt master Alderman WOODCOCK
Alderman BUCKLE and your selfe to repaire to Sta-
tioners Hall and there to examyn here and certifie such
matters As should be brought in questyon At which
tyme and place the Statute was graunted for your Sup-
pliauntes behoofe But the master and wardens of the
Companie then being (for some respectes to themselues

246 HISTORICAL SKETCH OF BOOKBINDING.

best knowen) Desired a stay thereof for yat they would
vndertake to see our cause otherwise redressed which for
a tyme they did vntill they waxed wearie of your Sup-
pliauntes Complaintes And nowe are willing the statute
should be putt in execucon most humblie beseaching
your Lordship and worshippes for yat the nomber of
forreyne[r]s are more encreased since then before through
their dailie repaire from all partes of the realme to
London your Suppliauntes also beinge in nomber fortie
six all freemen, taxable to their companies and to the
Cittie, and as sufficyent for their skyll As any forreyne[r]
whatsoeuer That yt maie please your good Lordship
and worshippes to vouchsafe them your lawfull favours yf
they maie haue the Statute in force for forreyne[r]s As
other Companyes haue and do execute Or ellse your poore
Suppliantes shalbe in case to be vtterly ruynat[e] and
vndone beseaching the Allmightie to blesse your honour
and worshippes in all your actions and affayres

By reason of which peticon your Lordship Appointed
us the Committees herevnder named to heare the de-
maundes and answeares aswell of the Stationers as of
the Alyens yat vse the trade or mistery of booke bind-
ing[:] we haue had e[a]ch partie before vs and haue

HISTORICAL SKETCH OF BOOKBINDING. 247

indifferently heard them, And we do certifie your Lord-
ship and worshippes our opinyons therein as followeth
viz*]

Imprimis wee thincke yt meet yat those Aliens being
Straungers borne owte of her Maiesties domynions/ being
free denizens or any of their sons that be at this daye
householders or from three monethes laste paste, should for
their seuerall lief tymes be permytted free liberty to haue
so many Apprentices As those which be of the yeomanry
of the Company of Stationers which Apprentices shall
first become bounde to a freeman of the Company of
Stationers for so many years as the said Straungers borne
or Straungers some shall agree with such Apprentice or
his freindes for And the said Alien or straunger shall sett
no other person on worke in yat trade of booke bindinge
excepte his or their children or Jorneymen free of the
Company of Stationers only vppon paine to loose
the benefitt of having Apprentices as the Companie
haue or ought to haue And if any alien Straunger
borne haue at this presente any scrvaunt that is bound
apprentice to Anie other man free of Anie other Com-
pany then of the Stationers we thincke yt reasonable such
Apprentice or Apprentices do become bounde Anewe or

248 HISTORICAL SKETCH OF BOOKBINDING.

ellse his or their Indentures to beare date with the tyme
that they now do/ to one of ye Companie of Stationers
free of this Citty to th[e]end yat ye trade shalbe not be
dispersed into more Companyes then allready it is/

Item we thincke yt reasonable yat every Alien Straunger
borne being Denizen or the sonne of Any Straunger
whose father is or hath bene denizen yat hath
served Anie of the Companie of Stationers or other
Company in ye trade of Bookebinding As a Jorneyman
for wages before this Daie that every of those yat so
shalbe founde to haue served as a Jorneyman may be so
permytted during his or their lief or liefes to serve As a
Jorneyman And not to be further permitted to keepe
shoppe or shoppes nor inwardlie to worke for them
selves in ye trade of Bookebinding/

And whereas divers of her Maiesties Subiectes haue
served their Apprenticeshippes in other Citties or townes
within this realme which do repayre to this Citty and
are sett on worke by sondry persons vsing the trade of
book binding aswell free of the Stationers as of other
Companies to the great hindrance of the pore workemen
in the Company of Stationers of which Company Are
verie many poore men/

HISTORICAL SKETCH OF BOOKBINDING. 249

ffor Avoyding of which Inconvenyence and for relief
of the said poorest of the Company of Stationers The
premisses considered and thought good to be graunted
by your lordship and worshippes wee thincke yt can no
way be preiudiciall that the Acte of Common Councell
made for restraynte of setting forreyne[r]s on work the
firste daie of Auguste in the third and fourth yeres of
Kinge PHILIPP and Queene MARY may from henceforth
be again in force As when the same was first made And
yat some Act of Common Councell might be made
agreing with the decree made in ye Starr Chamber for
the stinting of Apprentices to such free men as Do vse
that trade of booke binding printinge or book sellinge.
THOMAS BENNETT. HENRY ROWE.

LEONARD HOLLIDAY. THOMAS WILFORD.

Which report being read in this Court vas verie well-
liked and allowed of And therevppon ordred that the
same shalbe entered into the Repertory and observed
accordingly.

[Repertory z^fol, 132—133', and 133— 133*]

Mr. Arber, in his Transcript of the Registers of the
Company of Stationers of London 1554-1640, says :
" Most of the smaller publications which constituted the

250 HISTORICAL SKETCH OF BOOKBINDING.

majority of the issues from the press were published
unbound, or, as we should say, 'stitched.' The best
binders, as indeed all the printing paper down to about
1588, came from France. As the larger works therefore
only as a rule came to the binders' hands, we need not
be surprised at there being in 1597 but 47 freeman
binders in London, and they too apparently belonging to
several companies.

BIBLIOGRAPHY.

A CLASSIFIED list of books and papers relating to a
subject has always seemed to me a preliminary step to
its study. I have therefore endeavoured to do for bind-
ing what has not previously been done even in France,
where alone it may be said to possess a literature.

But if a subject catalogue is to be of real use to the
student it must be exhaustive as far as it goes — that is to
say, it should give such information as may enable him
to judge of the scope of every work described in it, as
well as guide him in its purchase. For this reason I
have in the following list given the number of plates,
pages, and editions, besides the usual information.

The list does not pretend to be a complete one in
certain departments, chiefly in French and German
dictionary and magazine articles. There are so many
serial publications that information concerning them

252 BIBLIOGRAPHY.

could only be obtained by prolonged search in the chief
continental libraries. There must also be statutes and
notices relating to the craft in its early times which are
yet to be discovered.

In the most important directions I believe the list to be
fairly complete, but what I desire in its publication is that
it should stimulate those interested in binding at home
and abroad to note anything that has escaped my search
and to communicate it to me, in order that later on the
list may be issued in a form still more exhaustive. There
may be many things, such as early manuals and craft
rules, hidden away in provincial libraries which librarians
may come across from time to time, and which may
possess much valuable information concerning early
English binding.

With regard to the arrangement adopted in the list, it
is simply alphabetical, any other being liable to cross
classifications.

Its limitations may be gathered from its omissions. I
have not included in it : —

(a) Books in the classical languages relating to the
libraries of the ancients.

BIBLIOGRAPHY. 253

(b) Catalogues of ancient or modern libraries, except

when illustrated or prefaced by some account
of binding.

(c) Catalogues of sales or dealers' catalogues, except

when illustrated.

I shall be glad of any additions, which will be carefully
set aside for future use.

S. T. PRIDEAUX,

37, NORFOLK SQUARE, LONDON, W.

A Statement of the Causes which led to the Present Difference
between the Master and Journeymen Bookbinders of Edinburgh.
Edinburgh, 1825. Cr. 8vo.

Acts of King Henry 8th. Contains one concerning the Craft of
Printers and Binders of Books. London, 1562. 8vo.

Adam (Paul). Systematisches Lehr- u. Handbuch der Buchbin-
derei u. der damit zusammenhangenden Facher. Pp. 999.
775 Illustrations in text. Dresden, 1886. 8vo.

Adam (Paul). Der Bucheinband, seine Technik und seine
Geschichte. Pp. 268. 194 Illustrations. Leipzig, 1890. 8vo.

Adam (Paul). Die Kunst des Blinddrucks, der Handvergoldung
und der Ledermosaik. Pp. 60. Illustrated. Leipzig, 1892.
4to.

Adry (Le Pere). Catalogue chronologique des Imprimeurs et
Libraires du Roy. Published by Le Roux de Lincy. Paris
1849. 8vo.

Allgemeiner Anzeiger fiir Buchbindereien. A Trade Journal
Stuttgart. Cr. 4to.

254 BIBLIOGRAPHY.

All the Year Round. Vol. 20, pp. 564-567. London, 1868, etc.
Bookbinding.

ALMANACKS AND LISTS —

Almanac Dauphin, ou Tablettes Royales du vrai merite des Artistes
celebres du Royaume. Get Almanach a paru annuellement de
1772 a 1777.

Almanach du Commerce de Paris pour 1'an VII. de la Republique
Fran$aise, pp. 693. Paris, de rimprimerie de Valade. 8vo.
Tableau di vise en trois classes dela Communaute des Maitresde
Marchands Papetiers-Colleurs et en Meubles, Cartiers, Relieurs-
Doreurs de Livres de la Ville, Faubourgs et Banlieue de Paris.
Chez laVve. Valade, 1789. Pp. 46. I2mo. Get Annuaire a
etc dresse conformement a 1'Edit de 1776. Tres precieux
Recueil pour 1'Histoire de la Reliure, d'une grande rarete.

Alt-Mutter (G.). Ueber die Beschaffenheit, den Gebrauch u. die
Verfertigung der beweglichen Bucher Einbande des Herrn
Decourdemanche in Paris. Mit Abbildungen. Wien, 1832.
8vo. [Enthalten in Band 13 der Jahrbiicher des kaiserlich
kb'niglich polytechnischen Instituts in Wien.]

American Bookbinder. Monthly. Buffalo, N.Y., 1890, &c.

American Bookmaker. An illustrated Trade Journal. New York,
1881, &c.

Andrews (William Loring). Roger Payne and his Art. Pp. 35.
II Plates. 1 20 copies printed on Holland paper and 10 on
Japan. New York. 1892. 8vo.

Andrews (William Loring). Jean Grolier de Sender, Viscount
d' Aguisy. Some account of his Life and of his famous Library.
Pp. 68. 6 Plates of Bindings. 140 copies and 10 on Japan.
New York, 1892. 8vo.

Annuaire du Bibliophile. Annee 4 contains La reliure a 1'exposition
de Londres en 1862. Pp. 15-24. Paris, 1860-63. 8vo.

Antiquarian Magazine, &c. Vol. 8, pp. 172-179. London, 1881,
&c. Bookbinding, by B. Quaritch.

Antiquary. London. 4to. Du Seuil. S. T. Prideaux. May,
1892.

BIBLIOGRAPHY. 255

Anweisung zur Buchbinderkunst, darinnen alle Handarbeiten mit
gehbrigen Kupfern. Leipzig, 1762. 8vo. 2 Theile.

Archseologia. Vol. I., Parts I and 2. An account of the Har-
monies contrived by Nicholas Ferrar at Little Gidding.
Captain J. E. Acland-Troyte, M. A. London, 1 888. Pp. 16.
4to.

Further note on the Harmonies contrived by Nicholas Ferrar at
Little Gidding, in a letter from Captain J. E. Acland-Troyte
to Henry Salusbury Milman, Esq., M.A., Director. Pp. 4.

Archaeological Journal. Vol. 18, 1861, pp. 277-286. London,
1845, &c- Special Exhibition and notices of the Art of Book-
binding.

Arnett (John Andrews). An inquiry into the nature and form of
the Books of the Ancients. Pp. 212. London, 1837. I2mo.

Arnett (John Andrews). Bibliopegia, or the Art of Bookbinding
in all its branches. Pp. 212. 10 Plates and Addenda, pp. 10.
London, 1835. I2mo. For later English editions see Hannett
(John), J. A. Arnett being a pseudonym.

Arnett (John Andrews). Bibliopegia, oder die Buchbinderkunst in
alien ihren Zweigen. 2 Auflage. Mit IO Steintafeln u.
Holzschnitten. Aus dem Englischen. Pp. 232. Stuttgart,
1837. i6mo.

Arnett (John Andrews). The Bookbinders' School of Design as
applied to the Combination of Tools in the Art of Finishing.
Pp. 14. 8 Plates engraved by Joseph Morris. London, 1837.
4to.

Arrest du Conseil d'Etat prive du Roy du 18 Septembre, 1730.
Opuscule de 12 pages qui se trouve generalement dansle Regle-
me^t pour la Libraire et Imprimerie de Paris, arrete en Conseil
d'Etat le 28 Fevrier, 1723, et public en 1731. Paris, P. A. Le
Mercier, pere. I2mo.

Art of Bookbinding, The. Pp.92. London, 1818. 8vo.

Art and Letters. London, 1881, &c., 1883. August and Septem-
ber. Bookbinding Illustrated.

256 BIBLIOGRAPHY.

Art Journal, The. London, 1849, &c. Years 1850, 1854, 1859,
1861, 1876, 1878, 1880, 1881. Articles relating to Binding.

L'Art et 1'Idee. Revue contemporaine du Dilettantisme litteraire et
de la curiosite. A monthlyjournal. Paris, 1892. 8vo. No.
2 contains Saint Heraye (G. de) La decoration exterieure des
livres with the Illustrations contained in an article on the same
subject in CasselFs Magazine of Art, 1891, by S. T. Prideaux.

L'Art Pratique (Georges Huth). Leipsic and Paris, 1879-85. 4to.
Recueil de documents choisis dans les ouvrages des grands
maitres, Fran$ais, Italiens, Allemands, Neerlandais, &c. Two
or three designs for bindings.

Arte Italiana decorativa e industriale. Roma- Venezia, 1890. Folio.
Monthly periodical. Anno I., No. 9, contains Legaturidi libri
dei secoli xv. and xvi. Illustrated. See Portafoglio ddle
Arti decorative.

Auber (Ed.). Reliure d'un MS. dit Evangeliaire de Charlemagne,
Paris, 1874. 8vo. Extract from Vol. 35 of the Mhnoires de
la Socie'te Nationale des Antiqtiaires de France.

Balinger (E. F.). Deutliche u. volkommen bewahrte Anweisung
aus Biichern, etc. Flecken aller Art . . . zu vertilgen.
Pp. 15. Stuttgart [1867]. 8vo.

Bapst (Germain) Les Arts du Bois, des tissus et du papier. Paris,
1883. 8vo. Chapter on " L'Imprimerie et la Reliure," with
18 Plates of Bindings. This work reproduced the principal
exhibits of the Exhibition in 1882 of the Union centrale des
Arts decoratifs.

Bauchart (E. Q.). Les Femmes Bibliophiles de France. 2 vols.
With 43 Plates of arms and 25 reproductions of bindings.
Paris, 1886. Large 8vo.

Bauer (C.). Handbuch der Buchbinderei. 7. Auflage v. C. F. G.
Thou's Die Kunst Biicher zu binden. Mit 36 Holzschnitten im
Text u. einem Atlas v. 1 1 Foliotafeln, enthaltend Abbildungen
alterer u. neuerer Buchverzierungen. Weimar, 1881. 8vo.

BIBLIOGRAPHY. 257

Beauchamps (J. de) et Rouveyre (Edouard). Guide du Libraire-
Antiquaire et du Bibliophile. Preface par Jules Richard. Pp.
xv., 176. 46 Plates and Frontispiece. Paris, 1884-5. 8vo.
Vol. i issued in 12 parts. Only 4 parts issued of Vol. 2.

Behrend (L.). Das Ganze des Vergoldens fiir Buchbinder. Duis-
burg, 1841. 8vo.

Bender (E.). Alt-deutsche Lederarbeiten. Leipzig, 1889-90.
Folio.

Beraldi (Henri). Estampes a livres 1872-1892. Pp. 207. 40
Plates of Bindings. 390 copies. Paris, 1892. Large 8vo.

Berard (Andre). Dictionnaire biographique des artistes fran9ais du
xve au xvne siecle, suivi d'une table chronologique et alpha-
betique comprenant en 20 classes les arts mentionnes dans
1'ouvrage. Paris, 1872. Svo. Class 18 is of binders,and gives
a brief notice of 34 French binders.

Bergmeister (T.). Unterweisung in der Buchbinderkunst. Leipzig.

Berjeau (Jean Philibert). Le Bibliomane. Londres, 1867. Small
Svo. Two numbers continued as Le Bibliophile illustre.
Londres et Paris, 1867. Large Svo. These together form
Vol. I., Nos. 1-12. Continued as Le Bibliophile, Vol. II.,
Nos. 13-25. Londres, 1867. Svo. Le Bibliophile illustre
contains Les Reliures de Grolier. Pp. 2. i Plate.

Berliner Buchbinderzeitung. Berlin, 1883. Folio.

Bernard (Auguste). Geoffrey Tory, Peintre et Graveur, premier
Imprimeur Royal. Paris, 1857. Svo. Deuxieme edition.
Paris, 1865. Svo.

Bibliophile Fran^aise. Gazette illustree des Amateurs de Livres,
d'Estampes, et de haute curiosite. Paris, 1867-73. 7 vols.
Svo. 113 Plates of bindings, armorials, &c., with text by
Brunei, Julien, Fournier, &c. 101 of these Plates appeared
later in the Album de rcliures, by Julien.

Bibliotheque Nationale. Notice des Objets exposes. Paris, 1881.

Bickell (L.). Bucheinbande des XV. bis xvin. Jahrhunderts aus
Hessischen Bibliotheken. 42 Plates. Leipzig, 1892. Folio.

Bickley (A. C.). On Embroidered and Embroidering Books.
Woman's World, 1889. pp. 41-45. 5 Illustrations.

258 BIBLIOGRAPHY.

Bigmore (Edward C. ). The Printed Book. London, 1887. 8vo.
Illustrated, pp. viii. 312. A translation of Le Livre by
Henry Bouchot.

Bigmore (Edward C. ). [Another edition.] The Book: its Printers,
Illustration, and Binders. Edited by H. Grevel. Pp. 383.
London, 1890. 8vo. Chapter viii. treats of Bookbinding.

Blades (William). The Enemies of Books. Pp. xiii., no. Illus-
trated. London, 1880. Post 8vo. Second Edition. Pp. xiii.,
114. 1880. 3rd edition.

Blades (William). [Another edition.] Revised and enlarged.
Pp. xiii., 165. London, 1888. 8vo. This volume forms part
of the Book Lover's Library, edited by H. B. Wheatley.

Blades (William). Les Livres et leurs Ennemis. Traduit de
1' Anglais. Pp. 128. Paris, Londres (printed), 1883. 8vo.

Blades (William). Books in Chains. London, 1890. 8vo. 2nd
edition. 1892.

Blades (William). The Chained Library. London, 1890. 8vo.

Blades (William). Bibliographical Miscellanies. 1890. 8vo. For
additional notes to the above by W. Salt-Brassington, see The
Library, July, 1891, &c.

Blades (William). Pentateuch of Printing. Pp. xxvi., 118. Illus-
trated. London, 1891. 4to.

Blanc (Charles). Gazette des Beaux-Arts. Vol. 22. Oct. and
Nov. 1880. 12 Plates. Some portion of these two articles
was incorporated in the chapter on Binding in the Author's
Grammaire des Arts decoratifs.

Blanc (Charles). Grammaire des Arts decoratifs. Pp. 417-456.
6 Plates. Paris, 1882. 8vo.

Boeck (T.). Die Marmorirkunst. Mit 30 Marmorpapiermustern.
Wien, 1880. 8vo.

Bonnardot (A.). Essai^sur 1'art de restaurer les Estampes et les
Livres. Seconde Edition. Pp. 349. Paris, 1858. 8vo.

Bonnardot (A.). De la reparation des vieilles Reliures, complement
de 1'essai sur 1'art de restaurer les Estampes et les Livres.
Pp. 72. Paris, 1858. 8vo.

BIBLIOGRAPHY. 259

Book of English Trades. Pp. 442. 70 Engravings. The Book-
binder. Pp. 29-35. I Engraving. London, 1818. I2mo.

Bookbinder, The. London, 1887, &c. A Trade Journal, con-
tinued as the British Bookmaker.

Bookbinders' Price Book, calculated for the different Modes of
Binding, as agreed upon at a General Meeting of the Trade,
December, 1812. Pp. 48. London, 1813. 8vo.

Bookbinders' Complete Instructor in all Branches of Bookbinding,
&c. Peterhead, 1823. I2mo.

Bookbinders' Trade Circular, The. London, 1850-77. I2mo.

Bookbinding Trade, The. Proceedings at a Meeting of the Book-
sellers and Publishers of London and Westminster. Pp. 15.
1839. 8vo.

Book-finishers' Friendly Circular, The. Conducted by a Com-
mittee of the Finishers' Friendly Association. London.
Printed for the Association, 1845-51. I2mo. Contains Illus-
trations of styles of finishing.

Bookmart, The. Pittsburg, U.S. Vol. V. April, 1888. The
Art of Bookbinding. This article, by Theodore Child, origin-
ally appeared in the New York Sun.

Bookseller, The. London, 1858, &c. Numerous Trade Notices,
also an Account of the Bookbindings exhibited at the Exhibition
of 1862, May 3 ist, 1862.

Bordeaux (Raymond). Quelques mots sur 1'Histoire de la reliure
de Livres. Pp. 8. 2 Plates. Paris, 1858. 8vo.

Bosquet (Emile). Traite theorique et pratique de 1'art du relieur.
Pp. viii., 323. 16 Plates and 71 Illustrations in Text. Paris,
1890. 8vo.

Bosquet (Emile). Baremes ou devis de Travaux de Reliure. Paris,
1892. 410.

Bouchot (Henri). De la Reliure, exemples a imiter ou a rejeter.
Pp. 92. 15 Plates. Paris, 1891. 8vo.

Bouchot (Henri). Le Livre, 1'Illustration, la Reliure. Etude
historique sommaire. Paris, 1886. Post 8vo. Illustrated.
Chapter viii. treats of Bookbinding.

S 2

260 BIBLIOGRAPHY.

Bouchot (Henri). Les Reliures d'art a la Bibliotheque Nationale.
Pp.51. 80 Plates. Paris, 1888. 8vo. Pp. xii., Notices des
planches.

Bouvenne (Aglalis). Les monogrammes historiques. Paris, Aca-
demic des Bibliophiles, 1870. I2mo. Contains many mono-
grams taken from bookbindings.

Box (Ernest). Dictionnaire de 1'Art, de la Curiosite et du Bibelot.
Pp. 568-73. 410. Art de la Reliure. Illustrated. Paris,
1883.

Brade (Ludwig). Illustrirtes Buchbinderbuch. 2 Auflage besorgt
v. Herzog. Leipzig, 1868. 8vo. Mit einem Atlas dazu.
Lief. I. Quer Folio — 3 ganzlich umgearb. Auflage v. Robt.
Metz. Mit 150 Holzschnitten. 1882. 8vo.

Brade (Ludwig) and Winckler (Emil). Das Illustrirte Buchbinder-
buch. Pp. 276. 71 Illustrations in Text. Leipzig, 1860.
8vo.

Brade (Ludwig) and Winckler (Emil). Het Geillustreerde Boek-
bindersboek, met vele Houtgravuren. Pp. 326. Leyden,
1861. i6mo.

Bradshaw (Henry). Notice of a fragment of the Fifteen Oes and
other prayers. [Memoranda, No. 5.] Pp. 12. London,
1877. 8vo.

Brassington (Wm. Salt).

1. Paper upon "Thomas Hall, and the old Library founded by
him at King's Norton." Transactions of the Library Asso-
ciation, 1887-88.

2. Paper upon "An Old Birmingham Lecturer, the Rev. Thomas
Hall, B.D., 1610-65." Transactions of the Birmingham and
Midland Institution. Archaeological Section, 1887-88.

3. On Bookbinding. A Paper read before the Midland Institute,
27th March, 1889. A few copies printed off separately. Pp. 15.
1890. 4to.

4. Additional Notes to " Blades' Bibliographical Miscellanies,"
The Library, July, 1891, &c.

Brassington (W. Salt). Historic Bindings at the Bodleian Library,
Oxford, with reproductions and descriptions of 24 books.
London, 1892. 410.

BIBLIOGRAPHY. 261

British Bookmaker, The. Monthly Trade Journal. Illustrated.
London, 1890, &c. Small 4to.

British Museum, i. A Guide to the Printed Books exhibited in
the King's Library. 1891. 2. A Guide to the Autograph
Letters, Manuscripts, Charters, Seals, Illuminations, and Bind-
ings exhibited in the Department of Manuscripts and in the
Grenville Library. 1890.

Brockhaus' Conversations- Lexikon. Band 3. Pp. 650-652. I Plate
of Illustrations of Binders' presses, &c. Leipzig, 1882, &c.

Brosenius (Fr.). 54 Anweisungen in der Buchbinderkunst. Qued-
linburg, 1842. i6mo. 2te vermehrte Auflage.

Brosenius (Fr. ). 70 Anweisungen in der Buchbinderkunst. Qued-
linburg, 1847. I2mo.

Brunet (Gustave). Dictionnaire de Bibliologie Catholique. Columns
1263-1282 — Article, "Reliure." Paris, 1860. 8vo.

Brunet (Gustave). Dictionnaire de Bibliographic et de Bibliologie.
Supplement. Columns 588-591 — Article, " Reliure. " Paris,
1866. 8vo.

Brunet (Gustave). Etudes sur la Reliure des livres et sur les collec-
tions de quelques bibliophiles celebres. Pp. 50. Bordeaux,
1866. 8vo. This pamphlet has the object of supplementing
Fournier's La Reliure aux derniers sttcles, and contains
extracts from Libri's Monuments inedits.

Brunet (Gustave). Another Edition. Bordeaux, 1873. 8vo. 115
copies only printed.

Brunet (Gustave). Another Edition. Pp. vi., 173. Bordeaux,
1891. 8vo.

Brunet (Gustave). Bibliomania in the present day, from the French
of Philomneste Junior. With a notice and portrait of Trautz-
Bauzonnet. Pp. 141. New York, 1880. 8vo.

Brunet (Gustave). La Reliure ancienne et moderne. Recueil de
116 Planches de reliures artistiques des xvic, xvn«, xvm« et
xixe Siecles. Introduction par G. Brunet. Paris, 1884.
Large 8vo.

Buecher (C.). Frankfurter Buchbinder-Ordnungen. Frankfurt,
1888. 8vo.

262 BIBLIOGRAPHY.

Buecher (Carl). Frankfurter Buchbinder-Ordnungen vom xvi.
bis zum xix. Jahrhundert. Tubingen, 1888.

Buecking (J. J. H.). Die Kunst des Buchbinders. Stendal, 1785.

8vo.
Buecking (J. J. H.). [Another edition.] Neu verbessert u. ver-

mehrt herausgegeben, von J. M. D. B. Stadt am Hof. 2 Plates.

1807. 8vo.
Bulletin des Arts. Paris, 1845-48. 8vo. Continuation of Bulletin

de T alliance des Arts (1842-44), year 1845, P- 3I5t an<l 1846,

p. 33 and p. 256.
Bulletin du Bibliophile public par Techener. Paris, 1834, &c. 8vo.

Numerous Articles and Plates.

Butsch (A. F.). Die Biicher-Ornament der Hoch-u.-Spat Re-
naissance. Leipzig, 1878-1880. 410. 2 Bande.

Cabinet of Useful Arts and Manufactures, designed for the perusal
of Young Persons. Pp. 125-8. Dublin, 1821. The Art of
Binding Books.

Caille (Jean de la). Histoire de 1'Imprimerie et de la Librairie, ou
1'on voit son origine et son progres jusqu'en 1689. Divisee en
deux livres. Pp. 348. Paris, Jean de la Caille, 1689. 4*0.

Calcar. Boekbindern. Met Houtgravuren. 1881. 8vo.

Calvert (F. Grace). On Decay in the Binding of Books. Trans-
actions of the Society of Arts. Pp. 1 20- 22. Vol.57. 1851.

Cartier (Alfred). De la decoration exterieure des livres et de 1'his-
toire de la Reliure depuis le quinzieme siecle. Pp. 209. 12
Plates. 1885. Extrait du Bulletin de la Societe des Arts de
Geneve. Reproduced without consent of the author in the
Journal Union de la Papeterie, Lausanne, 1886, and with
inferior Plates.

Case of the Bookbinders of Great Britain, The. [Praying that the
House of Commons "will not consent to prohibit the making
Mill-boards."] [London, 1711.] S. sh. fol.

Case of the Bookbinders of Great Britain, The. [" Humbly offered
to the Consideration of the Hon. House of Commons, relating
to the excessive duty resolved to be laid on Mill-boards."]
[London, 1711.] S. sh. fol.

BIBLIOGRAPHY. 263

Cassell's Technical Educator. Pp. 40-42, 87-90, 296-7, 401.
Vol.4. London, 1886. Art of Bookbinding.

Catalogue chronologique des Libraires et des Libraires-Imprimeurs
de Paris, depuis 1 an 1470, epoque de 1'etablissement de 1'Im-
primerie dans cette capitale, jusqu'a present. Paris, chez Jean-
Roch Lottin de Saint-German, 1789. I2mo.

Catalogue de la Bibliotheque de M. Rivide Heredie, Comte de
Benahavis. 3 Plates. Paris, 1891. 8vo.

Catalogue 69 de la Librairie ancienne de Ludwig Rosenthal.
6 Plates. Munich, 1892. 8vo.

Catalogue de Livres rares et precieux composant la Bibliotheque de
M. Hippolyte Destailleur. I Plate. Paris, 1891. 4to.

Catalogue de Livres et Manuscrits, la plupart rares et precieux
provenant du Grenier de Charles Cousin. Pp. 240. 5 Plates.
Catalogue de Faiences Anciennes. Pp. 25. 6 Plates. Paris,
1891. Large 4to.

Catalogue de Livres rares et precieux dont la vente aura lieu a
Munich, Juillet 21, 1891. 4 Reproductions of Bindings.

Catalog der im Germanischen Museum vorhandenen interessanten
Bucheinbande und Teile von solchen. Mit Abbildungen.
Pp. IO2. Niirnberg, 1889. 8vo.

Catalogue des livres composant la Bibliotheque de S. E, Don Paolo
Borghese, Prince de Salmona. Premiere partie vente de 16
Mai au 7 Juin, 1892. Roma. 8vo. Pp. 714. 36 Repro-
ductions de Reliure.

Catalogue du Musee Fol. W. Fol. Paris and Geneva, 1879. 4
vols. 8vo. Vol. 4, chap, v., contains Reliure. Pp. 202-267.
33 Illustrations.

Catalogue illustre de la Bibliotheque du Marquis de Morante.
PP- 352- 35 Plates of Bindings. Paris, 1872. 8vo.

Catalogue of a Loan Collection of Ancient and Modern Book-
bindings exhibited at the Liverpool Art Club, November, 1882.
Pp. 47. Pp. v. of Introduction, by J. N. (John Newton).
Liverpool, published by the Club, 1882. 8vo.

264 BIBLIOGRAPHY.

Catalogue of the valuable and very extensive Library of the late
James T. Gibson Craig, Esq. In IO parts. 32 plates. 100
copies printed on large and fine paper. London, 1887.
Large 4to.

Catalogue of the very choice Collection of Books and Miniatures
formed many years since by J. T. Payne, Esq., sold by Sotheby,
Wilkinson & Hodge on Wednesday, the loth day of April,
1878. 9 Plates of Bindings facsimilied in colours.

Catalogue of an Exhibition of Bookbindings, 1860-90. Pp. 61.
New York, the Grolier Club, 1891. I2mo.

Catalogue of the Choicer Portion of the Library formed by M.
Guglielmo Libri. London, 1859. The introduction, by G.
Libri, contains information relative to Bookbindings.

Catalogue of the Exhibition of Bookbindings at the Burlington
Fine Arts Club, London, 1891. Pp. Ixi. of Introduction ;
xvi., by E. Gordon Duff, on early stamped bindings, and xlv. by
S. T. Prideaux, on gilt bindings. 4to.

Catalogue of the Exhibition of Modern Bookbindings at the
Caxton Head, High Holborn, 1891. 4to. Pp. 15. 2 Plates
of Bindings.

Catalogue of the Exhibition of Art Bindings at Nottingham Castle,
in connexion with the Annual Meeting of the Library
Association. Pp. ii. , 52. 8 Illustrations. 1891.

Catalogues illustres de la Bibliotheque de Amb. Firmin Didot.
5 torn. Paris, 1878-84. 4to. Numerous Plates of Bindings.

Century Magazine. Vol. 39. The Grolier Club of New York.

Pp. 86-97. 5 Reproductions of Bindings.
Chambers (Robert). Book of Days. Vol. II., pp. 338-40. 2vols.

London, 1886. Imp. 8vo. Ancient Books. Vol. II., pp.

596-97. Illustrated. Roger Payne. Illustrated.

Chambers' Journal. Edinburgh, 1844, &c. Years, 1856, 1857,

1869, 1885. Articles on Bookbinding.
Champollion-Figeac (Aime). Documents Paleographiques relatifs

a 1'Histoire des Beaux Arts. Paris, 1868. 8vo.
Chevillier (Andre). Dissertation Historique et Critique sur 1'Origine

de 1'Imprimerie de Paris. Pp. 448. Paris, 1694.

BIBLIOGRAPHY. 265

Chretien-Lalanne (Marie Ludovic). Curiosites bibliographiques.
Reliures pp. 300-309. Paris, 1845. I2mo. One of the vols.
of the BibliothZque ae Poche.

Clarke (William). Repertorium Bibliographicum. 1819.
Clemence (Adolphe). Revue de la Reliure et de la Bibliophilie.
3 Plates. Paris, 1869. 8vo. Three numbers only appeared.

Clerget (Charles Ernest). Motifs d'Ornaments du xvie siecle
(Liv. 1-3 only published). 3 Plates of Bindings. Paris,
1840. 4to.

Cobden-Sanderson (T. J.). Article on Bookbinding in English
Illustrated Magazine. Pp. 323-332. Illustrated. Jan., 1891.

Cobden-Sanderson (T. J. ). Article in the Arts' and Crafts'
Exhibition Society Catalogue. Pp. n. First Exhibition, 1888.

Cobden-Sanderson (T. J.). Craft Ideals. Transactions of the
National Association for the Advancement of Art and its
Application to Industry. Pp. 256-266. Liverpool Meeting,
1888.

Code de la Librairie et Imprimerie de Paris. Pp. 500. Paris,
1744. I2mo.

Collections de Charles Cousin. Sale Catalogue on Japanese
Paper. 5 Plates of Bindings. 1891. Large 4to.

Collet (S.). Relics of Literature. Pp. 400. Contains Bills of

Roger Payne. London, 1823. 8vo.
Collinot (E.) et Beaumont (A. de). Ornements de la Perse, &c.

Paris, 1880. Imp. folio. Several Plates of Bindings.
Collinot (E.) et Beaumont (A. de). Recueil de Dessins pour 1'Art

et 1'Industrie. Paris, 1859. Folio. 217 Etchings — a few of

Bindings.
Commission d'enquete sur la situation des ouvriers et des industries

d'art instituted par decret, en date du 24 Decembre, 1881.

Paris, 1884. 4to. Dans ce recueil se trouve la deposition de

M. Lortic pour la Reliure.

Constantin (Leopold Auguste) pseud. Bibliotheconomie. In-
structions sur 1'arrangement, la conservation et 1'administration

des Bibliotheques. Pp. 56-61. Paris, 1839. Svo. De la

Reliure.

266 BIBLIOGRAPHY.

Constantin (Leopold Augusts) flseud. Nouvelle edition . . . aug-
mentee. 1841. [One of the Manuels RoretJ\

Constantin (Leopold Auguste) pseud. Biblioteconomia, 6 nuevo
manuel completo para el arreglo, la conservacion y la ad-
ministracion de las bibliotecas. . traducido del frances al
castellano y adicionado por D. Hidalgo. Madrid, 1865. 8vo.

Cousin (Charles). Racontars illustres d'un vieux Collectionneur.
Pp- 335- 8 Plates of Bindings. Paris, 1887. Large 4to.

Cousin (Jules). De 1'organisation et de 1'administration des biblio-
theques publiques et privees. Manuel theorique et pratique du
bibliothecaire. Pp. 151-169. Paris, 1882. 8vo.

Cowie. Bookbinders' Manual. William Strange, Junior, 8, Amen
Corner, Paternoster Row. 7th Edition. London.

Craig (James Gibson). Facsimiles of Old Bookbinding in the
Collection of J. G. Craig. Privately printed. 25 copies only.
No letterpress. 27 Plates. Edinburgh, 1882. 4to.

Crane (W. J. E. ). Bookbinding for Amateurs. Pp. vi., 184.
Illustrated with 156 Engravings. London, 1885. 8vo.

Crusius (F. G.). Beitrage zur Geschichte der Buchbinderkunst. In
illustrirte Zeitung fur Buchbinderei, &c. No. 3-9. 1869.
Leipzig. 4to.

Crusius (F. G. ). Ueber die Entwickelung des gegenwartigen
Verhaltnisse im deutschen Zunft- u. Handwerksleben, seit dem
Anfange dieses Jahrhunderts. Diisseldorf. 1858. 8vo. Aus
der Deutsche Gewerbezeitungv. 1853.

Cundall (Joseph). Chambers' Encyclopaedia — Article on Book-

binding.
Cundall (Joseph). On Bookbindings, Ancient and Modern.

Pp. xi., 132. 28 Plates. London, 1881. Cr. 410.

Cundall (Joseph). On Ornamental Art, applied to Ancient and
Modern Bookbinding. London, 1848. 4to. Read before the
Society of Arts, 1847. Some copies have 21 Plates by
Tuckett, selected chiefly from the Library of the British
Museum. See also Transactions of the Society of Arts.
Pp. 213-225. Supp. vol. [vol. 56]. 6 Plates and Facsimile
of a Bill for Binding by Roger Payne.

BIBLIOGRAPHY. 267

Cyprianus (Ernst Salomo). Selecta Programmata. Pp. 40-46. Co-
burgi, 1708. 8vo. De Ornatu Librorum.

Danel (L. ). 17 Planches de Reliure executees en chromotypo-
graphie tirees sur papier du Japon et publiees dans le Bulletin
Morgand et Fatout. Paris. 4to.

Davenport (Cyril James).

1. Note on an Old Binding. The Bookbinder, Vol. 2, p. 44,
Sept., 1888. Illustrated.

2. Early English Embroidered Books, &c. The Queen, Jan. 26,
1889. Illustrated.

3. Embroidered Books. The Bookmaker, New York, No. 6,
Vol. XI, Dec., 1890. Illustrated.

4. Early London Bookbindings, &c. The Queen, June 20, 1891.
Illustrated.

5. Embroidered Books at the Burlington Fine Arts Club. The
Queen, Aug. 15, 1891, and Aug. 29, 1891. Illustrated.

De Chanteau (Maurice). De la Corporation des Imprimeurs,
Libraireset Relieurs de la Ville de Metz. Pp. 40. Metz, 1867.
8vo. (Reproduction des Actes dela Communaute depuis 1656
jusq'en 1781.)

Defremery (C.). Journals des Savants. Paris, 1816, &c. 4to.
August and September, 1876.

Derome (Leopold). La Reliure de Luxe. Le livre et I'amateur.
Pp. 246. 63 Coloured Plates from original designs. Paris,
1888.

Derome (Leopold). Le Luxe des Livres. Pp. xii., 140. Paris,
1879. I2mo.

Designs and Ornaments for Bookbinding. London, 1840. 4to.

Deutsche Buchbinderzeitung. 36Nos. Leipzig, 1 880-81. Fol. A
Trade Journal.

Deutsche Bucheinbande der Neuzeit, eine Sammlung ausgefuhrter
Arbeiten aus Deutschen Werkstatten mit erlauterndem Text.
Herausgegeben v. Johannes Mant. Leipzig, 1889.

268 BIBLIOGRAPHY.

Dibdin (Thos. Frognall). A Bibliographical, Antiquarian, and
Picturesque Tour in France and Germany. 3 Vols. London,
1821. 8vo. Vol. 2, pp. 411-421, contains the account of
French binding and binders answered by Lesne in his " Lettre
d'un relieur frangais a un bibliophile anglais." — Second edition.
3 vols. London, 1829. 8vo.

Dibdin (Thos. Frognall). The Bibliographical Decameron.
London, 1817. 3 vols. 8vo. Vol. 2. Dialogue 8. Pp.
425"533 contains an account of Bookbinding ancient and
modern, specimens of bindings, and notices of binders.

Dibdin (Thos. Frognall). Bibliomania. Pp. 87. London, 1809.
8vo. Another edition, much enlarged. London, 181 1. 8vo.
New and improved edition. London, 1876.

Dictionnaire de 1'Industrie, &c. Tom. 9. Pp. 520-529. Paris, 1840.
8vo. Reliure.

Die englische Buchbinderkunst ; enthaltend eine Beschreibung von
dem Werkzeuge, Vorrichten, Vergolden, u. Ausarbeiten
Schreibbiicherbinden, Schnittfarben, Marmoriren, Sprengen,
&c., &c. Leipzig, 1819. 8vo. I Holzschnitt.

Double (Lucien). A travers deux Siecles et quatorze Salons.
Pp. 53. Illustrated. Paris, 1878. 8vo.

Du Bois (Henri Pene). Historical Essay on the Art of Bookbind-
ing. Pp.42. New York, 1883. 8vo.

Du Bois (Henri Pene). Four Private Libraries of New York.
Pp. 119. 8 Plates of Bindings. Edition limited to 100 num-
bered copies. New York, 1892. 8vo.

Dudin. L'Art de Relieur-doreur de Livres. ist Edition. Pp.
112. 1 6 Plates. Paris, 1772. Small folio. Written by
command of the Academic Royale des Sciences, to be included
in the Description gtnerale des Arts et Metiers.

Dudin. L'Art du Relieur. Nouvelle edition, augmentee de tout
ce qui a etc ecrit de mieux sur ces matieres en Allemagne, en
Angleterre, en Suisse, en Italie, &c. Par J. E. Bertrand.
Pp. no, and 2 Explanatory Plates. Paris, 1820. 4to.
Extract from the Description generale des Arts el Metiers.

BIBLIOGRAPHY. 269

Dulac (L* Abbe J.). Reliure d'un Montaigne a 1'S barre et a mono-
grammes. Reponse a une question de 1'Abbe L. Couture.
Pp. 22. i Plate. Paris, 1880. 8vo.

Dunning (T. J.). Trades Societies and Strikes. Some account of
the London Consolidated Society of Bookbinders. Pp. 93-104.
London, 1860. 8vo.

Duranville (Leon de). De la Bibliophile. Rouen, 1873. 8vo.
Extrait du Precis des Travaux de 1'Academie des Sciences,
Belles-Lettres et Arts de Rouen, &c. Only 60 copies printed.

Du Sommerard (Alexandre). Les Arts au Moyen-Age. Paris,
1838-46, Album Serie I.-X. and Atlas contain several very
fine Plates of Bindings.

Dutuit. Souvenir de 1'Exposition de M. Dutuit. Pp. 107. 34
Plates. Paris, 1869. 410.

Edit du Roy du 21 Aout 1686, pour le reglement des Tmprimeurs et
Libraires de Paris. — fidit du Roy du 7 Septembre 1686, pour
le reglement des relieurs et doreurs de livres. Paris, D. Thierry,
1687. 410.

Edit du Roy, portant nouvelle Creation de six Corps de Marchands et
de quarante-quatre Communautes d'Arts et Metiers, donne au
mois d'Aout, 1776. Une plaquette in-4to. de 30 pages dans
laquelle se trouve le Nouveau Reglement qui erige la Reliure
en Communaute nouvelle avec les Papetiers-Colleurs et en
Meubles, et les Cartiers.

Edmunds (W. H.). Bookbinding. See Exhibitions. Reports of
Artizans, &c.

Edwards (Edward). Memoirs of Libraries. 2 vols. London and
Leipzig, 1859. Svo. Vol. 2 (pp. 959-987) contains an his-
torical account of Bookbinding, with 6 Plates.

Elton (Charles Isaac). A Catalogue of a portion of the Library
of Charles Isaac Elton and Mary Augusta Elton. Pp. 222.
28 Plates. London, 1891. Svo.

Encyclopaedias, &c. For Articles on Bookbinding, see American
Cyclopaedia — Blackie's Modern Cyclopaedia — Bouillet (N.).
Dictionnaire Universel des Sciences . . . et des Arts — Ency-

270 BIBLIOGRAPHY.

clopsedia Metropolitana — Globe Encyclopaedia — Johnson.
Universal Cyclopaedia — National Encyclopaedia — Popular
Encyclopaedia — Rees- Encyclopaedia or Universal Dictionary.

Eschebach (August). Aus der Buchbinderwerkstatt. Gedichte.
Pp. 102. Berlin, 1861. i6mo.

Eschebach (August). Gebrauchs-Anweisung zur einer neuen prakti-
schen Blattvergoldekunst. II Auflage. Berlin, 1861. i6mo.

Etablissement d'une Bibliotheque. Paris, 1877. I2mo.

REPORTS OF EXHIBITIONS ARRANGED CHRONOLOGICALLY.

Rapport du jury central sur les produits de 1'industrie franchise a
1'exposition de 1834, par le Baron Ch. Dupin. 3 vols. in 8vo.
Paris, Imprimerie Royale, 1836.

Rapport du jury central. Exposition des produits de 1'industrie fran-
caise, 1839. 3 vols. in 8vo. Paris, 1839.

Rapport du jury central. Exposition des produits de 1'industrie fran-
9aise, 1844. 3 vols. 8vo.

Rapport du jury central sur les produits de 1'agriculture et de 1'indus-
trie exposes en 1849. 3 vols. Paris, 1850. 8vo.

Exhibition of the Works of Industry of all Nations. Official De-
scriptive Catalogue. Vol. 2. Pp. 536-552. London, 1851.

Exhibition of the Works of Industry of all Nations, 1851. Reports
of the Juries. Vol. 2. Pp. 928-936. London, 1852. Book-
binding.

Exposition universelle de 1855. Rapports du jury mixte
international. 2 torn. Pp. 1290-1303. Paris, 1856. Reliure,
p. 341. Machines pour la reliure.

International Exhibition, 1862. Reports of the Juries. London,
1863. Class 38. Section D. Bookbinding.

Rapports du jury international sur 1'exposition de Londres, 1862,
publics par Michel Chevalier. 6 vols. Paris, 1862. 8vo.

Rapport des ouvriers relieurs delegues a 1'exposition universelle de
Londres en 1862. Pp. 36. Paris, 1863. 8vo.

BIBLIOGRAPHY. 271

Exposition de 1867. Delegation des ouvriers relieurs.

Premiere partie. La reliure aux expositions de 1'indus-

trie (1798-1862). Pp. 278. Paris, 1868. 8vo.

Deuxtime Partie. La reliure a 1'exposition de 1867.

Etudes comparatives de la reliure ancienne et moderne. Pp. 223.
9 Plates. Photogravure. Paris, 1869-75. 8vo.

Rapport de la commission superieure a 1'exposition universelle de
Vienne, 1873 (section fran£aise). 5 torn. Paris, 1875. 8vo.

Rapport de la delegation ouvriere fran9aise a 1'exposition universelle
de Vienne, 1873. Relieurs. Paris, 1874. 8vo.

Rapport sur l'imprimerie et la librairie (et la reliure) a 1'exposition
Internationale de Philadelphie, 1876, par Rene Fouret. Paris,
1877. 4to.

Exposition Universelle de Philadelphie, 1876. Delegation
Ouvriere libre Relieurs. Pp. 247. 2 Plates. Paris, 1879.
I2mo.

Union Centrale des Arts decoratifs (me Groupe de 1'Exposition
technologique de 1882). Librairie, Photographic, Gravure,
Reliure, Papier peint. Rapport du Jury des Industries du
Papier, par M. Alfred Firmin Didot. Paris, 1883. 8vo.

Union Centrale des Arts decoratifs (7e Exposition, 1882). Deuxieme
Exposition technologique des Industries d'Art. Le Bois, les
Tissus, le Papier. Documents Officiels de 1'Exposition. Un
volume in 4to, dans lequel se trouve le Rapport de M. Alfred
Firmin-Didot, sur la Reliure. Paris, 1883.

Reports of Artizans selected by the Mansion House Committee to
visit the Paris Universal Exhibition, 1889. Pp. 14-45.
London, 1889. 8vo. Bookbinding by W. H. Edmunds.

Falckenberg (Albert) & Co. Ideen-Magazin fur Buchbinder.
Zusammenstellung von Stempeler, Linien, &c., aus der
Graviranstalt von Falckenberg & Co., in Magdeburg, 1843-56.
Imp. 410. Heft 1-4.

Falckenberg (Albert) & Co. Musterblatter der Stempel u. Fileton
fur Buchbinder und Vergolder aus der Graviranstalt von
Falckenberg & Co., in Magdeburg. Magdeburg. 1844. 4to.
6 Hefte.

273 BIBLIOGRAPHY.

Falke (Jacob). Die byzantinischen Buchdeckel der St. Marcus
Bibliothek in Venedig. Text and 10 Plates. Wien, 1867.
Large folio.

Fine Arts Quarterly Review. London, 1863. Year 1863. Ancient
Ornamental Bindings.

Firmin-Didot. Catalogue illustre de la bibliotheque de Ambroise
Firmin-Didot. Paris. 1878-84. 4to. 5 vols. Numerous
Plates of Bindings.

Fitzgerald (Percy). The Book Fancier ; or, the Romance of Book
Collecting. Pp. 99-136. London, 1886. I2mo.

Fizeliere (Albert de la). Des Emaux cloisonnes et de leur Intro-
duction dans la Reliure des Livres. Extract from Bulletin de
Bouquiniste (1-15 December, 1869). Pp. 16. Paris, 1870.
8vo.

Flat Ornament. 150 Plates. 6 Plates of designs for binding.
London (Batsford). 1886.

Folious Appearances : a consideration on our ways of Lettering
Books. Pp. 24. 1854. 4to. See Tapling.

Fougeroux de Bondaroy (Auguste Denis). Art de Travailler les
Cuirs dore's ou Argentes. Pp. 42. 2 Plates. Paris, 1762.
Fol.

Fournier (Edouard). L'art de la Reliure en France aux derniers
siecles. Pp. 235. Paris, 1864. 8vo. Deuxieme edition,
1888. Pp. 226.

Franklin (Alfred). Precis de 1'histoire de la Bibliotheque du Roi,
aujourd'hui Bibliotheque Nationale. (2nd Edition. Revised
and augmented. ) Pp. 341. Illustrated. Paris, 1875. 8vo.

Frisius (Frid.). Ceremoniel der Buchbinder. Leipzig. 1728.
8vo. Mit Titelkupfer.

Fritzsche (Gustav). Anleitung u. Vorlagen zur Herstellung ge-
schnittener u. gepunzter altdeutscher Lederarbeiten. 4, voll-
standig]umgearbeitete u. verbesserte Auflage mit 128 originalen
Zeichnungen nebst einem Vorwort v. Dr. A. Weiske. Leipzig,
1887. 8vo.

BIBLIOGRAPHY. 273

Fritzsche (Gustav). Moderne Buch-Einbande. Sammlung kiinst-
lerischer Original-Entwiirfe znr Ornamentirung von Buch-
decken. 4 Hefte u. 7 Chromolith. Leipzig, 1878-79., Gr.
Folio.

Fritzsche (Gustav). Sinn- u. Denkspriiche fur Buchbinderei Werk-
statten. Leipzig.

Fritsche (Gustav) u. Winckler. See Winckler (Otto).

Gauffecourt (Caperonier de). Traite sur la Reliure des Livres.
Printed by the author at his country house at Montbrillant,
near Geneve, 1763. Pp. 72. 8vo. Only three copies extant
known — one was included in the second library of Charles
Nodier, the other is still in the public Library of Besan9on, and
a third in the possession of Mons. Gruel.

Gazette des Beaux-Arts, 1859, &c. Index to 1st series. Vols.
1-15, 1866. Index to 2nd series. Vols. 16-25, 1870.
Numerous Contributions to the subject of Binding.

Geraud (H.). Essais sur les livres dans 1'antiquite. Pp. xiv. 232.
Paris, 1840. 8vo.

Georg (Johann). Niitzliches Stempffelbuch von Allerlei krummen
Villeten, auch saubern Stempffeln, zusammengesetzt durch
Johann Georg ; Schwertfeger, Eisen, Sigel, Wappen, und
Stempffel, Schneider in Niirnberg, 1697, 4to. 14 Copper
Plates (including title page).

Greve (Ernst Wilh.). Hand- u. Lehrbuch der Buchbinde- u.
Futteralmachekunst. In Briefen an einen jungen Kunstver-
wandten, &c. Berlin, 1822-23. 2 Bande. 8vo. II Zeich-
nungen in Steindruck. 2. Ausgabe, 1832. 8vo.

Grimm (C. H.). Album der Relieur-Doreur. Vorlegeblatter fur
Buchbinder u. Vergolder. Lief. 1-8, u. 10 Blatter. Paris,
1840-46. J Gr. Folio.

Grosse (Edward). Der Gold- und Farbendruck fur Buchbinder.
Vienna, 1889. 8vo.

Gruel (Leon). Manuel Historique et Bibliographique del' Amateur
de Reliures. Pp. 186. 70 Plates. Paris, 1887. 4to.

274 BIBLIOGRAPHY.

Gruel (Leon). Notice sur Christophe Plantin. Extraite du
Journal General de f Imprimerie et de la Librairie du 26
Septembre, 1891. Pp. n. 2 Plates. Paris, 1891. 8vo.

Guide des Corps des Marchands et des Communautes des Arts et
Metiers, tant de la Ville et Fauxbourgs de Paris que du Roy-
aume. Un volume in-i2mo de 496 pages dans lequel se trouve
un Resume du Reglement de la Communaute des Relieurs et
Doreurs de Livres. Paris, 1766.

Guiffrey (J. J.). Les grands relieurs parisiens du xvme siecle,
Boyet, Padeloup, Derome. Documents nouveaux. Pp. 15.
8vo. Extrait du Bulletin de la Societe de f Histoire de Paris,
and del' He de France. Pp. 98-112. ne annee, 1884.

Guigard (Joanns). Armorial du Bibliophile, avec illustrations dans
le texte. 2 torn. Paris, 1870-72. 8vo.

Guigard (Joannes). Nouvel Armorial du Bibliophile. 2 torn.
Paris, 1890. 8vo.

Haas (H. de). De boekbinder of al hetgeen wat tot die Kunst

betrekking heeft. Plates. Dordrecht, 1806. 8vo.
Halfer (Josef). Die Fortschritte der Marmorirkunst. Budapest,

1885. 8vo.

Another Edition. Stuttgart [1891]. 8vo. [Forming part

of Leo's Buchbinder Bibliothek. ]
Hall. Bookbinders' Patterns. Two parts. 4to. Published by

W. Day, Bookbinders' Tool Cutter, 12 Middle Row, Holborn

(with prices).
Handbook of Taste in Bookbinding. New edition. Pp. 31.

With Illustrations. London. 8vo. Published and probably

written by E. Churton.
Handbuch der Buchbinderei. Wien, 1881.
Hannett (John). Bibliopegia ; or, the Art of Bookbinding, etc. A

New Edition. Pp. ii., 194. 10 Plates. 1842. I2mo.

Fourth Edition. Pp. iv., 166. n Plates. London, 1848.

I2mo.

Sixth Edition. (2 Parts.) London, 1865. 8vo. Part I is

another copy of the work entitled An Inquiry into the

Nature . . . of the Books of the Ancients. By J. A.

Arnett. With a new title page, preface, and index.

BIBLIOGRAPHY. 275

Harper's New Monthly Magazine, 1850, &c. Vol. 32. Pp. 25-29,
1865. Binding. Part of an article entitled "Making the
Magazine." Also vol. 75. Pp. 165-188. July, 1875. "A
printed Book." This article also appears in vol. 14 of the
European edition. Pp. 165-168. July, 1887. (The title page
reading "Harper's Monthly Magazine.") The European
edition commenced with vol. 62 of the American edition,
1881.

Heuss (Adam). Wanderungen und Lebensansichten. Jena, 1845,
8vo.

Hoe (Robert). A Lecture on Bookbinding as a Fine Art. 63
Illustrations. New York Grolier Club. 1886. Small 4to.

Hoffmann (F. C.). Beitrage zur Bildung gliicklicher Handwerker
mit besonderer Beziehung auf der Buchbinder Handwerk.
Heft I. Wien, 1819. 8vo.

Honer (B.). Die Geheimnisse der Marmorirkunst, nebst einer
Anleitung zur Farbenbereitung. Futtlingen, 1870. Gr. l6mo.

Horn (Otto). Die Technik der Handvergoldung und Lederauflage.
Mit 8 lith. Tafeln. Gera, 1887. 8vo.

Horn (Otto). Vorlagen zum Verzieren von Gold- und Farbschnitten
durch Ciseliren, Malen, Drucken, £c. 9 Tafeln u. Text. Gera
(Reusz). 1886. 410.

Horn (Otto) u. Ludwig (E.). Mustervorlagen u. Motive zur De-
coration von Buchdecken und Riicken. Pp. 48. 41 lith.
Tafeln u. Text. Gera. 1885. Gross 410.

Horn u. Patzelt. Vorlagen fur geschnittene u. gepunzte Lederar-
beiten. Text u. 16 Tafeln in Farbendruck. Gera, 1887.

Home (Thomas Hartwell). An Introduction to the Study of
Bibliography. 2 vols. Pp. 292-309. London, 1814. 8vo.
Article on Binding.

Hour Glass. September, 1887. A Chat about Bookbinding. Also
issued as a pamphlet by J. W. Zaehnsdorf.

Houze (J. P.). Le livre des Metiers manuels. Pp. 387-393. Paris,
1882. Svo. Reliure.

T 2

276 BIBLIOGRAPHY.

Howard (Joseph T.). On Ancient Bindings in the Library of
Westminster Abbey (London and Middlesex Archaeological
Transactions). Vol. 2. London. 1864. 8vo.

Hiittner (J. Ch.). Ueber einige bequeme Vortheile u. Handgriffe
in der Buchbinderei in England. Tubingen, 1802. 8vo.

Illustrirte Zeitung fur Buchbinderei, &c. Dresden, 1867. 410. A

Trade Journal.
Industries of the World. 2 vols. London. Vol. 2. Pp. 676-7.

Bookbinding.
Ives (Drayton). Sale Catalogue. Illustrated. New York, 1891.

Jacob (Paul L. ). See Lacroix (Paul).

Jacobi (Charles Thomas). On the Making and Issuing of Books.
London, 1891. I2mo. Chapter vii. The Binding of Books.

Jacobi (Charles Thomas). The Printer's Handbook. London,
1887. 8vo.

Jal (Auguste). Dictionnaire critique de biographic et d'histoire.
Paris, 1867. 8vo. Contains on p. 1083 a genealogy of the
Derome family. 2nd edition. Paris, 1872. 8vo.

Jaugeon. L'art de relier les Livres. This forms the 5th part and
completion of a great work, "Description et Perfection des
Arts et Metiers." The MS. has never been printed. It was
begun in 1693 and finished in 1704. The part relating to
binding has 42 pages of text, and 2 explanatory plates ; these
last were used later on by Dudin in his "Art du Relieur-doreur
des livres," which appeared in 1772. This is the first technical
work on binding known.

Journal der neuesten Fortschritte in der Buchbinderei, &c., &c.
Weimar, 1844-54. I. -III. Band. Gr. 410.

Journal fiir Buchbinderei, Lederwaaren, u. Cartonagen Fabrikation.
A Trade Journal. Leipzig, 1 88 1. Imp. 410.

Journal of the British Archteological Association. Vol. 8. Berthe-
let's bill as King's printer, for books sold and bound, and for
statutes and proclamations furnished to the Government in
1541-1543. London, 1853. 8vo. Pp. 7.

BIBLIOGRAPHY. 277

Journal of the Franklin Institute of the State of Pennsylvania,
Philadelphia, 1867, &c. Year 1838 has an account of Hancock's
patent for attaching the leaves of a book with caoutchouc.

Journal of the Society of Arts. London, 1853, &c. Vols. 7, 22,
24, 28, 36. Articles on Binding, &c.

Julien (le Bibliophile). Album de reliures artistiques et historiques
des xvie, xviie, xvilieet xixe siecles, accompagne de notes ex-
plicatives. Paris, 1 866. In 4 Parts. 410. The 3 first parts
have each 24 Plates, the 4th has 28. All the Plates but the last
3 in Part 4 appeared in Le Bibliophile Franfais.

Karmarsch und Heeren's Technisches Worterbuch. Pp. 109-125.
Band 2. Prag, 1876, &c. Buchbinderarbeiten.

Katalog der im germanischen Museum. See Catalog.

Kellen (David Van der). Le Moyen Age et la Renaissance dans
les Pays-Bas. La Haye [1865-79], fol. Contains 2 plates of
silver book covers and ornaments.

Kunst- u. Lehrbuch fur Buchbinder, worin alle Handarbeiten die zur
Dauer u. Zierde eines Buches gereichen, moglichst genau be-
schrieben. Landshut, 1820. 2 Theile.

Labarte (Jules). Histoire des Arts Industriels au Moyen Age. 10
fine Plates of jewelled and ivory book-covers. 4 torn, and
album. Paris, 1864-66. 8vo.

Labarte (Jules). Deuxieme edition. 3 torn. Paris, 1872-75. 410.

Laborde (Comte de). Les Dues de Bourgogne. 3 vols. Paris,
1849-52. 8vo.

Laboulaye (C.). Dictionnaire des Arts ct Manufactures. Paris,
1845, &c. Col. 3188-92. Reliure.

Lacroix (Paul [Le Bibliophile Jacob]). Les Arts au Moyen Age et a
1'epoque de la Renaissance. Pp. 467-81. Reliure. Paris,
1869. 8vo.

Lacroix (Paul [Le Bibliophile Jacob]). Le Moyen Age et la Renais-
sance. 8 Plates. Tom. v. Reliure. Paris, 1848-51.

278 BIBLIOGRAPHY.

Lacroix (Paul [Le Bibliophile Jacob]). Arts of the Middle Ages.
Chapter on Bookbinding. Pp. 14. 12 Illustrations. London.
1870.

Lacroix (Paul [Le Bibliophile Jacob]). La Reliure depuis 1'anti-
quite jusqu'au xvne siecle. Extrait de 20 pages in I2mo, des
Curiosites de FHistoire des Arts. Paris, 1858.

[ ] Jacob (Paul L. ). Catalogue des livres du bibliotheque de

la Comtesse de Barry, avec les prix a Versailles, 1771. Paris,
1874. i6mo. 100 copies only. A reprint from the original
MS. with Note and Preface by the bibliophile Jacob.

[ ] Jacob (Paul L.). Curiosites de 1'histoire des arts. Pp.

157-181. Paris, 1858. i6mo. La reliure depuis 1'antiquite
jusqu'au dix-septieme siecle.

La Fizeliere (Albert de). Des Emaux cloisonnes et de leur intro-
duction dans la reliure des livres. Pp. 16. Paris, 1870. 8vo.
Extract from the Bulletin du Bouquiniste. December i and
15, 1869.

Lalanne (Ludovic). Curiosites bibliographiques. Paris, 1857.
I2mo.

Lami (E. O.) and Tharel (A.). Dictionnaire encyclopedique et
biographique de 1'industrie et des arts industriels. Pp. 771-8.
Illustrations in text. Reliure. Paris, 1881, &c. Tom 7.

Lang (Andrew). Books and Bookmen. Bibliomania in France.
Pp. 90-108. 2 Plates of Bindings. London, 1886. 8vo. In
the New York edition, 1886, pp. 95-107, is an Article on
Bookbinding, which does not appear in the London edition.

Lang (Andrew). The Library. Pp. 63-73 and 114-120. 2 Plates
of Bindings. London, 1881. 8vo. Second Edition, 1892,
with different Plates.

La Roche Lacarelle (S. de). Catalogue des livres rares . . . com-
posant la bibliotheque de feu le Baron S. de la Roche Lacarelle.
Pp. xv. 190. 40 Plates of Bindings and 21 Facsimiles of Titles.
Paris, 1888. Roy. 4to.

Lauri (E. O.). Dictionnaire encyclopedique et biographique de
1'industrie et des arts industriels. Paris, 1886. 8vo. Reliure.
Vol. 7. 436e livraison.

BIBLIOGRAPHY. 279

Le Dieu (Aldus). Les reliures artistiques et armories de la Biblio-
theque Communale d' Abbeville. Pp. 127. 18 Plates and 71
Illustrations in the text. Paris, 1891. 4to. 50 copies only.

Le Livre. Revue mensuelle. Bibliographic ancienne et retro-
spective. Paris, 1880, &c. 8vo. Contains " La reliure
illustre." " Nouvel armorial du bibliophile Joannes Guigard."

Leighton (John). Notes on Books and Bindings. A card to be
suspended in the library. 100 copies. Printed from Notes and
Queries.

Leighton (John). On the Library Books and Binding, &c. Journal
of the Society of Arts, 1859. Vol. 7. Pp. 209-219.

Leischner (C. F.). Liniir-Kunst. Ein Handbuch fur Liniirer u.
Buchbinder. Weimar, 1867. 8vo. Mit Atlas and 15 Lang-
Foliotafeln.

Lemerre (Alphonse). Le Livre du Bibliophile. Includes a chapter
on Binding. Pp. 50. Paris. 1874. i8mo.

Lempertz (Heinrich). Bilderhefte zur Geschichte des Biicher-
handels und der mit demselben verwandten Ku'nste u. Gewerbe.
65 Plates. Contains 10 fine Plates, with explanatory matter,
chiefly of stamped and painted bindings of the I4th, I5th, and
l6th centuries. Coin, 1853-65. Folio.

Lenormand (L. S. ). Die Buchbinderkunst in alien ihren Verrich-
tungen, oder Handbuch fur Buchbinder u. Liebhaber dieser
Kunst. Ulm, 1832. Gr. I2mo. Aus dem Franzosischen.

Lenormand (L. S.). Handboek voor den Boekbinder, bijzonder
met betrekking tot de nieuwste Engelsche en Fransche verbete-
ringen. Naar bet Fransch. Amsterdam, 1843. 8vo.

Lenormand (L. S.). Nouveau Manuel complet du Relieur en tous
genres. Pp. viii. 424. 4 Explanatory Plates. Paris, 1879.
I2mo. One of the collection of Manuels Roret, of which there
are several editions, the first appearing in 1825.

Lenormand (L. S.). Praktisches Handbuch der Buchbinderkunst
nach dem Franzosischen bearbeitet. Quedlinburg, 1835. 8vo.

280 BIBLIOGRAPHY.

Leo (Wilhelm). Anleitungen u. Recepte fiir die Buchbinder Werk-
statt. 5. Auflage. Stuttgart, 1885. Gr. 8vo.

Leo (Wilhelm). Buchbinder-Kalender. Stuttgart, 1891. I2mo.

Le Petit (Jules). L'art d'aimer les Livres et de les connaitre.
Lettres a un jeune bibliophile. Letters xvi. and xvii. Paris,
1884. I2mo.

Le Prince (Nic. Thorn.) and Paris (Louis). Essai historique sur
la Bibliotheque du Roi, aujourd i'hui Bibliotheque imperiale.
Nouvelle edition, revue et augtnentee par Louis Paris. Re-
liures, pp. 200-204. Paris, 1856. I2mo.

Le Roux de Lincy (A. J. V.). Notice sur la Bibliotheque de
Catherine de Medicis, avec des extraits de 1'inventaire de cette
Bibliotheque. Pp. 34. Paris, 1858. 8vo.

Le Roux de Lincy (A. J. V.). Recherches sur Jean Grolier, sur sa
vie et sa bibliotheque, suivies d'un catalogue des livres qui lui
ont appartenu. Pp. xlix. 491. 6 Planches et Facsimile (sepa-
rately). Paris, 1866. 8vo.

Les Catalogues de livres et les Bibliophiles contemporains. Preface
au Catalogue de livres curieux de M. Auguste Fontaine par
P. L. Jacob, bibliophile. Paris, 1877. Pp. 24. 8vo.

Lesne. A la gloire Immortelle des Inventeurs de I'lmprimerie.
Pp. ii. Paris.

Lesne. Epitre a Thouvenin [on French and English Bookbinding].
Pp. 20. Paris, 1823.

Lesne. La Reliure. Poeme didactique en six chants. Pp. 246.
Paris, 1820. 8vo. Seconde edition, dediee aux amateurs de
la Reliure. Paris, 1827. Large 8vo, 120 numbered copies.
This edition contains the Dedication and Preface to the first
edition of 1820, the " Memoire relatif aux moyens de perfec-
tionnement propres a faire retarder de plusieurs siecles le renou-
vellement des Relieures," the " Epitre a Thouvenin," and the
" Lettre d'un Relieur fra^ais a un Bibliographe anglais."

Lesne. La Reliure. Poeme. Pp. viii. 99. 8vo. With the notes
of Luigi Odorici.

BIBLIOGRAPHY. 281

Lesne. Lettre d'un Relieur frai^ais a un Bibliographe anglais.
Pp. 28. Paris, 1822. 8vo. A reply to Dibdin's Criticism of
French Binders in his Bibliographical Tour.

Lesne. Lettre d'un Relieur fran9ais aux principaux Imprimeurs,
Libraires, Relieurs et Bibliophiles de 1'Europe. Pp. 18. Paris,
1834. 8vo.

Library, The. A magazine of Bibliography and Literature.
London, 1889. 8vo. Articles and Notes on Binding : Vol. i.,
pp. 26, 38, 76, in, 148, 228, 259; vol. ii., pp. 225, 272;
vol. iii., pp. 181, 251, 287.

Library Journal, The. New York, 1876, &c. Nearly every
number has something relating to Bookbinding.

Libri (Guillaume). Monuments inedits ou peu connus faisant partie
du cabinet de G. Libri, et qui se rapportent a 1'histoire des arts
du dessin considered dans leur application a 1'ornement des
livres. Pp. 14. 65 plates. Londres, 1862. Folio. The
Second Edition of 1864 contains a supplement of five additional
plates, indicated by alphabetical letters. The text is in French
and English.

Lievre (Edouard). Les Arts decoratifs a toutes les epoques.
2 Plates of Bindings [Nos. 1 8 and 35], of which Plate 18 is
good metal work. 2 torn. Paris, 1870. Fol.

Lindsay, J. L. {Earl of Crawford). Early Bindings exhibited at
the Society of Antiquaries. London, 1886. 410.

Loftie { W. J. ). A Plea for Art in the House. Pp. 75-80. London,

1876. 8vo.

Louisy (P.). Le Livre et les arts qui s'y rattachent, depuis les
origines jusqu'a la fin du xvine siecle. Pp. 113-140. Reliure.
221 Illustrations. Paris, 1886. 8vo. Taken from the works
of Paul Lacroix on the Middle Ages and the Renaissance, the
1 7th and i8th centuries.

Loupot (E.). Du Livre et de la Reliure. Extract from Le Phare.
March I5th, 1879.

MacCallum (S. B.). Bookbinding at Home. Pp. 14. 2nd Edition.

1877. London. 8vo.

282 BIBLIOGRAPHY.

Magasin Pittoresque. Pp. 52-54. Paris, 1833, &c. 4to. 1836.
De la Reliure, 1874. Pp. 279-80, 283-4. La Reliure chez
soi.

Magazine of Art, The. Vol. 5. 1882. Pp. 146-51. London,
1878, &c. Book Decoration, Historical and Artistic.
Illustrated.

Mairet (F. ). Traite sur la Lithographic — followed by Essai sur la
Reliure. Pp. 220. Chatillon-sur-Seine, 1824. 8vo.

Manuscrits precieux (Collection de Mme. la Duchesse de B. . . ).
Dans ce catalogue se trouve la description de la reliure du
petit Livre d'heures de Henri II. Paris, 1864. 8vo.

Marius-Michel. Essai sur la Decoration exterieure des livres. Pp.
1 6. Paris, 1878. 8vo.

Marius Michel. L'Ornementatipn des Reliures modernes. Pp.
78. 15 Plates. Paris, 1889. 410.

Marius-Michel. La Reliure fran£aise commerciale et industrielle
depuis 1'invention de I'lmprimerie jusqu'a nos jours. Pp. 137.
23 Plates. Paris, 1881. 410.

Marius-Michel. La Reliure fran9aise depuis 1'invention de I'lm-
primerie jusqu'a la fin du xvine siecle. Pp. 144. 22 Plates.
Paris, 1880. 4to.

Matthews (Brander). The Grolier Club. Article in the Century
Magazine, November, 1889. Several Illustrations of Bindings.

Matthews (William). Modern Bookbinding practically considered.
A lecture read before the Grolier Club of New York, March
25, 1885. With additions and new illustrations. Pp. 96. 9
Plates and Portrait. New York Grolier Club, 1889. 410.

Maul (Johannes). Deutsche Bucheinbande der Neuzeit ; Samm-
lung ausgefiihrter Arbeiten aus deutschen Werkstatten. 40
Plates with text in portfolio. Leipzig, 1888. Folio.

Menard (Rene). Histoire artistique du Metal, i Plate of a
jewelled cover of a MS. Paris, 1881. 410.

Meyers' Konversations-Lexikon. Buchbinden. Pp. 544-547.
Band 3. Leipzig, 1885, &c.

BIBLIOGRAPHY. 283

Minzloff (Carl Rudolf). Notice sur les reliures anciennes de la
Bibliotheque Imperiale de Saint Petersbourg. Pp. 39. Paris,
1859. 8vo.

Miscellanees Bibliographiques publiees par Edouard Rouveyre. 3
vols. Paris, 1878, 1879, 1880. 8vo.

La Misere des Apprentis Papetiers-Colleurs, Relieurs et Doreurs de
Livres. Pp. 16 (extrait des MisZres de ce Monde). Paris, 1747.
I2mo.

Mitteilung des Bundes deutscher Buchbinder-Innungen. Monthly
Trade Journal. Munich.

Monatschrift fur Buchbinder. Friedrich Pfeilstucker. Berlin.

Monuments Fran9ais Inedits. Vol. 2. No. 287. 1839. Fol.
Couverture d'un MS. grec, du xvie siecle execute pour Henri
II.

Morante. Catalogue illustre de la bibliotheque de feu M. le
Marquis de Morante, precede d'une notice biographique par
M. Fr. Asenjo Barbieri et de quelques mots sur cette biblio-
theque par M. Paul Lacroix. 34 Plates. Paris, 1872. 8vo.

Morgand-Fatout. Bulletin mensuel de la librairie Morgand et
Fatout. 55 Plates. Paris, 1876 to 1890. 8vo.

Murr (Christoph Gottlieb von). De Papyris seu Voluminibus
Graecis Herculanensibus Commentatio. Pp. 59. 2 Plates.
Argentorati, 1804. 8vo.

Musterblatter fur Buchbinder u. Vergolder. I. und II. Heft. 6
Plates. Leipzig. 1842. Folio.

Musterblatter zu den elegantesten und modernsten Galanterie-
arbeiten fur Buchbinder, Papparbeiter und Dilettanten. 1
Lief. Mit 4 Steintaf. in 4 Lex. Quedlinburg und Leipzig,
1843. 8vo.

Namur (Jean Pie). Manuel du Bibliothecaire. Part II. Chap.
VII. and VIII. Bruxelles, 1834. 8vo.

Netto (F. A. W.). Neueste Geheimnisse u. Erfindungen fiir Buch-
binder, &c. Mit 21 Abbildungen. Pp. 39. Quedlinburg,
1845. 8vo.

284 BIBLIOGRAPHY.

Nicholson (James B. ). A Manual of the Art of Bookbinding. Pp.
318. 12 Plates, and several examples of Marbling. Phila-
delphia, 1882. PostSvo.

Nodier (Charles). De la Reliure en France au dix-neuvieme
siecle. Pp. 8. Paris, 1834. Extract from the Bulletin du

Nordhoff(T. B.). Buchbinder Kunst u. Handwerk in Westfalen.
Aus der Zeitschrift fiir Geschichte in Alterthumskunde West-
falens. 39. Band. 8vo.

Notes and Queries. London, 1850, &c. First Series, ii. 308 ; vi.
94, 289; ix. 401, 423. Second Series, v. 131, 247; viii.
511 ; ix. 196 ; xi. 169, 194, 230; xii, 35. Third Series, vii.
I38> 329, 365. Fourth Series, xi. 302, 392 ; xii. 208. Fifth
Series, iv. 366, 472; vi. 109, no; vii. 169, 273; xii. 328,
358, 517. Sixth Series, i. 504; ii. 259, 6, 136 ; v. 127, 235,
295; viii. 305, 496; ix. 118. Seventh Series, ii. 444; vi.
148, 86, 236, 398, 472 ; vii. 283, 354 ; viii. 348, 477 ; ix. 307.

Notitia utraque cum Orientis turn Occidentis, ultra Arcadii Hono-
riique Csesarum Tempora. Basileas, 1552. Fol.

Palumbo (Ernesto). Norme generali per la legatura dei periodici
nelle pubbliche biblioteche. Pp. 21. Firenze, 1888. I2mo.

Paper and Press. A Monthly Trade Journal, with a department
devoted to Bookbinding. Philadelphia, 1890, £c.

Paris (Alexis Paulin). Les MSS. fran9ais de la Bibliotheqne du
Roi. 6 vols. in 3. Paris, 1836-1848. 8vo. Vol. 4 contains
letter by M. Jerome Pichon to M. Paulin Paris on the bindings
of De Thou.

Parry (H.). The Art of Bookbinding. Pp.92. London, 1817.
8vo.

Paton (James). Encyclopaedia Britannica. Article on Book-
binding.

Payne (J. T.). Catalogue (sale) of the Collection of Books and
Miniatures. By J. T. Payne. 9 Plates of bindings. April
10, 1878.

BIBLIOGRAPHY. 285

Peignot (Etienne Gabriel). Dictionnaire raisonne de Bibliologie.

3 vols. Pp. 158-160. Vol. 2. Pp. 270-275. Vol 3. Paris,
1802-4. 8vo.

Peignot ( Ktienne Gabriel). Essai historique et archeologique sur
la Reliure des livres et sur 1'etat de la librairie chez les anciens.
Pp. 84, 2 Plates. Dijon et Paris, 1834. 8vo. 200 copies
only printed.

Peignot (Etienne Gabriel). Manuel du Bibliophile, ou Traite du
choix des livres. 2 vols. Vol. 2. Pp. 434-442. Dijon,
1823. 8vo. De la reliure des livres.

Penny Magazine, The. London. 1832-45. Year 1833.
Philomneste Junior. See Brunet (Gustave).

Pichon (A.). Lettre a Monsieur Paulin Paris sur les Reliures de
la Bibliotheque du President de Thou.

Pichon (Jerome, Baron). Vie de Charles Henry, Comte d'Hoym.
2 vols. Vol. I, Chap. IV. 4 Plates. Paris, 1880. 8vo. De
la Bibliotheque du Comte d'Hoym et de son gout pour les
livres.

Portafoglio dell' Arti. Art Journal with occasional Plates of
Bindings. Venice, 1890, etc. Folio.

Portafoglio delle Arti decorative in Italia. Venezia, 1890-91. Folio.
Monthly periodical. Four Parts, continued as Arte Itaiiana.

4 Plates of Bindings.

Power (John). A Hahdybook about Books for Book-lovers, Book-
buyers, and Booksellers. Pp. xiv. 217. London, 1870. 8vo.

Pozzoli (Giulio). Manuale di tipografia, owero guida pratica pei
legatori di libri. Milano, 1861. 8vo. Con figure.

Pozzoli (Giulio). Nuovo manuale di tipografia. Dritto edizione
Pp. lii., 464. Milano, 1882. 8vo.

Practical Magazine, i Illustration. I page letterpress. London,
1873-76, 1873. Bookbinding in the i6th century.

Pratt (Q. T.) versus Fraser. Being a cause argued and determined
in the Court of King's Bench, Westminster, on Thursday,
June 6, 1811, before the Right Hon. Lord Ellenborough, C.J.
London, 1811.

286 BIBLIOGRAPHY.

Prideaux (S. T.).

1. Embroidered Bookcovers, Metal Ornament of Bound Books,
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2. Introduction to the Catalogue of the Exhibition of Book-
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3. Blind-tooled Pigskin. British Book Maker. January, 1892.
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4. Du Seuil. Antiquary, May, 1892.

Prediger (Chr. Ernst). Der in alien heut zu Tagiiblichen Arbeit
wohl anweisende accurate Buchbinder u. Futteralmacher. 4
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Publishers' Circular. London, 1838, &c. Numerous Trade
Notices.

Quaritch (Bernard). Catalogue of Books, &c. Supplement I.
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Quaritch (Bernard). Facsimiles of choice examples of Historical
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Quaritch (Bernard). General Catalogue. 6 vols. London, 1888.
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Quentin-Bauchat (Ern. ). Les femmes bibliophiles. 2 vols. Paris,
1866. 8vo. Numerous Plates.

Queriere (E. de la). Recherches sur le Cuir dore, anciennement
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Racinet (Auguste). L'Ornement Polychrome. 2 plates of bindings.
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Racinet (Auguste). Polychromatic Ornament. 2 plates of bind-
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Reber (P.). Die Kunst des Vergoldens bei der Buchbinderei, &c.,
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Relieurs. Arrets, Memoires, &c. 5 pieces en 4, dereliees. Arret
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juillet 1700 qui permet aux relieurs de continuer a relier a la
grecque tous les petits usages, livres classiques et autres petits
livres. — Sentence du 6 mai 1712 qui ordonne que les relieurs et
doreurs feront des apprentis. — Sentence entre les maitres relieurs
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La Reliure. Journal of the French Bookbinders' Society. Monthly.
1891.

Revue de la Relieur Fran9aise. Monthly Trade Journal. 1891,

&c.

Richardson (H. S.). Catalogue of Antiquities and Works of Art
exhibited at Ironmongers' Hall, London. May, 1861. 410.
Contains a descriptive account of bookbindings exhibited, with
3 Illustrations, and introduction by H. S. Richardson.

Richardson (H. S.). Examples of Ancient Bookbindings. A
portfolio of rubbings in the possession of the Art Library of
South Kensington Museum. 1860.

Rogers (Walter Thomas). Manual of Bibliography. Pp. 84-97.
5 Illustrations. London, 1891. 8vo. Article on Binding.

Rooses (Max). Compte Rendu de la Premiere Session de la Con-
ference du Livre tenue a Anvers au mois d'Aout, 1890.
Anvers, 1891. 4to. Contains a few remarks on binding, and
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of Matthias Corvinus, King of Hungary.

Rosier (C. G.). Sammlung von Musterbildern, verschiedene
Zusammenstellungen fur Buchbinder Arbeiten mit besonderer
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Rothschild (Nathan James Edward de). Catalogue des livres
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Rouaix (Paul). Dictionnaire des arts decoratifs. Paris, 1885.
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Rouveyre (Edouard). Connaissances necessaires a un Bibliophile.
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Rudolph (C. F.). Der reisende Buchbindergeselle, oder merk-
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Rudolph (C. F.). De reizende boekbinders gezel. Rotterdam,
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Saint-Genois (Jules de). Les Couvertures et feuilles de garde des
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Savary (],). Dictionnaire universel de Commerce. Paris, 173°-
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Schade (T. A. F.). Die Marmorirkunst. Berlin, 1845. 8vo.

Schaefer (L.). Vollstandiges Handbuch der Buchbinderkunst.
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Schmidt (C. R. Ernst). Der sich vervollkommende Buchbinder
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Schmidt- Weissenfels. Zwolf Buchbinder. Historisch-novellistische
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Schrift en Schriftkunst, het boekdrukken staalgraveerkunst, het
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Schwarz (Christian Gottlieb). De libris plicatilibus veterum.
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Schwarz (Christian Gottlieb). De Ornamentis Librorum. Pp. 240.
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Schweizerische Buchbinderzeitung. Published by Master Book-
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Sebald (E.). Der Einband schwerer Geschafts-, Kassen- u. Kirchen-
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Sendmaud (Edouard). Un document inedit sur Antonius Verard.
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Shaw (Henry). Decorative Arts of the Middle Ages. I Plate of
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Sister Arts ; or, a Concise and Interesting view of Paper-making,
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Willis (Robert). Architectural History of the University of
Cambridge and of the Colleges of Cambridge and Eton. With
large additions brought up to the present time by John Willis
Clark. Cambridge, 1 886. 4vols., 8vo. Vol. III. contains a
chapter on the Library, 386-471.

Winckler (Otto). Aus der Buchbinderwerkstatt.

(i. Heft.) Die Marmorirkunst. (Von Otto Winckler.) Mit

I Holzschnitt. 2. Auflage. 1 880. Leipzig, 1876. 8vo.
(2. Heft.) Der verzierte Buchschnitt. (Gust. Fritzsche's Ver-

fahren.) Bearbeitet von Gust. Fritzsche u. Otto Winckler.

Leipzig, 1 88 1. 8vo. Holzschnitten u. Plattenmustern.
(3. Heft.) Das Vergolden. Anweisung fur Hand- u. Press-

vergoldung. Bearbeitet von Otto Winckler. Leipzig, 1 88 1.

8vo.

Wood (H. Trueman). Bookbinding in the Exhibition. [1874.]
Journal of the Society of Arts. Vol. 22. Pp. 675-684.

Wood (H. Trueman). British Manufacturing Industries. Article
on Bookbinding. Pp. 70-95. London. 2nd Edition. 1877.

Woods (James Chapman). Old and Rare Books. A Lecture
delivered at the Royal Institution of South Wales, Swansea, on
March 2, 1885. London, 1885. 8vo. Pp. 36. Bindings,
PP- 30-31.

Woolnough (C. W.). The Art of Marbling. A Paper read before
the Society of Arts, Jan. 25, 1878.

Woolnough (C. W.). The Whole Art of Marbling. 31 examples
of Marbling. Pp. 82. London, 1881. 8vo.

Workshop Album. Edited by Prof. W. Baumer, &c. Several
Illustrations of book covers. London, 1870.

Wynants (V.). La Reliure moderne, critique d'un Practicien,
etude sur les relieurs et sur la reliure en generale, destined aux
amateurs de livres. Pp. 68. Paris, 1882. I2mo.

294 BIBLIOGRAPHY.

Zaehnsdorf (Joseph W.). Amateur Work. Vols. land 2. Articles
on Bookbinding. London, 1881-3. 8vo. New Series,
1888, &c.

Zaehnsdorf (Joseph W.). The Art of Bookbinding. Pp. xxiv. 187,
10 Plates. London, 1880. Post 8vo.

Zaehnsdorf (Joseph W.). Second edition. Pp. xix. 190. 8 Plates.
London, 1890. 8vo. [This edition forms one of Wood's
Technological Handbooks, ,]

Zaehnsdorf (Joseph W.). The Binding of a Book. An Illustrated
Advertisement Pamphlet. Article on Binding. Pp. 5-15.
London [1890].

Zaehnsdorf (Joseph W.). Catalogue of Books, &c. I Plate.

Zeidler (Joh. Gottfr.). Buchbinder Philosophic, oder Einleitung in
die Buchbinderkunst. Halle in Magdeburg. 1708. 8vo.

Zeitschrift fur Christliche Kunst. Leipzig, 1888. 8vo. I. Jahr-
gang. Tafel 3. Binding of the I4th century in pierced metal
work. Now in Cologne Museum.

Zeitung fiir Buchbinder u. Papparbeiter. A Trade Journal. Heft
1-19. Leipzig. 1842-44. Breit gr. 8vo.

Zimmermann (Karl). Bucheinbande aus dem Biicherschatze der
kbniglichen b'ffentlichen Bibliothek zu Dresden. Pp. 16. 50
Photographs. Leipzig, 1887. 4to.

INDEX.

INDEX.

ACLAND-TROYTE Captain, 104,

106

Alard, 17
Aldine Tools, 31
Aldus, 30
Alyat, A., 12
Anastasius, 143
Andrews, W. L., 128
Angelier, 44
Anguerrand, Pierre, in, 121,

125

Anisson-Duperron, 122
Anna, Wife of the Emperor

Ferdinand, 189
Antoinette de Vendome, 79
Arandel, Earl of, 76
Arundel, Eleanor, Countess of,

189

AttalusIL, 156
Azured Tools, 32

B

BAUDART, G., 13
Bayeux, £.,13
Bloc, L., ii

Bollcaert, J., n

Boule, A., 13

Bradel, A. P., 125

Brand, Thomas, 128

Brantome, 53

Brecy, Vicomte Gauthier de, 128

Breze, Louis de, 56

Buckingham, Anne, Duchess of,

189

Bude, 37
Burghley, 75
Burgundy, Dukes of, 182, 184,

192
Byzantine Art, 180

CAMEO Bindings, 29, 53

Canevari, Demetrio, 34, 59

Cape, 132

Catherine de Medicis, 52

Caumont, Comte, de, 128

Caxton, 14, 17

Chamillart, Madame de, in

Chamillart, Marquise de, 95

Chambolle, 132

Chapman, 127

Chaucer, 143, 147

298

INDEX.

Charlemagne, 177

Charles I., 151, 192

Charles VIII. , 35

Charles IX., 61

Charles, Prince of Wales, 98

Chevallon, C., 23

Clarendon, Lord Chancellor,

IOO

Clarke, 135

Claude de Lorraine, 79

Clermont de Lodeve, Comte de,

128

Colbert, 95, 113, 114
Colombel, Jehan, 42
Collets, The, 103
Commercial Bindings, 42
Conde, Princesse de, 57
Contemporaneous Sovereigns in

France and England, 138
Cottage Style, The, 99
Cotton, 76
Cousin, Jean, 57
Cranmer, Archbishop, 75, 97
Cracherode, Rev. C. M., 56
Cuzin, 132

D., M., 19, 22
De Bure, 116
Delorme, Philippe, 57
Deromes, The, in, 123
Deschamps, P. 122
Desportes, Philippe, 60
Diane de Poictiers, 51, 56
Dibdin, 135

Digby, Sir Kenelm, 100
Documents relating to the Craft,

211

Doublures, 94, 96, 113

Douce, 164

Douceur, Louis, III, 123

Dubuisson, J. P., ill, 125

Du Bois, Louis, 119

Dudley, Robert, 75

Du Lau, 128

Dupin, J., 13

Dura, 132

Du Seuil Augustin, in

Du Seuil Honore, 1 18

Du Sommerard, 176

E

EDWARD III., 148

Edward IV., 149, 182, 185

Edward VI., 69

Edwards of Halifax, 133

Edwards, 118

Egmonat, F., 16

Eliot, 127

Elizabeth, 74, 150, 164, 1 66,

»93

Elsenus, P., II
Emblems, 62, 127
Embroidered book covers, 101,

140

Emigrant binders, 128
English binding of the 1 6th

century, 64
English binding of the I7th

century, 96
English binding of the 1 8th

century, 127
Engraved Tools, 51
d'Este, 35

Etruscan bindings, 134
Eves, The, 79

INDEX.

299

Fj

FAN style, The, 98

Fanfare, 80

Ferrar, Nicholas, 102

Ferte, Fran9ois, la, 123

Fishmongers Company, 148

Fitzhugh, Lady, 188

Flechier, Esprit, 38, 95, 113

Fogel, J., 9

Fournier, 38

Foucault, Jehan, 49

Fouquet, Nicholas, 94

Francis I. , 50

Francis II., 61

French bindings of the l$th and

1 6th centuries, 35
French bindings of the I7th

century, 78
French bindings of the i8th

century, in
French Revolution, 126

G., E., 19

G., G., 19

G.,J., 13, 17

Gabrielle d'Estrees, 79

Gasparde de la Chastre, 82

Gaver, J., 17

Gavere, I. de, II

George III., 194

Gerard van Graten, 22

Gibson, John, 109

Gilders, 48

Gloucester, Eleanor Duchess of,

192

Godfrey, T., 22
Godfrey, G., 22

Gold, introduction of, 29, 64

Gori, 171.

Goujon, Jean, 57

Grandison, Bishop, 154

Grolier, Jean, 36

Gruel, Leon, 43, 44, 93, 113,

116, 163, 201
Gryphe, 44

Guigard, Joannis, 78, 85, 90
Guilibert, J., 12

H

H., A., 19, 20

Harleian bindings, 127

Harmonies, 104

Haynes, 150

Helena, Empress, 144

Henri II., 48, 50

Henri III., 62

Henri IV., 63

Henry III., 145

Henry IV., 147

Henry VI., 149

Henry VII., 150, 174, 186

Henry VIII., 64, 65, 185, 186

Henry, a Benedictine monk,

177

Henry, Prince of Wales, 97
Henrietta, Queen, 192
Hentzner, Paul, 75, 186
Hering, Charles, 132
Hilarion de Coste, 54
Hoby, Sir Thomas, 175
Hollis, Thomas, 127
Hollow-backs, introduction of,

126
Hoym, Comte d', 95, 112, 114,

121, 123

300

INDEX.

Hunte, T., 15
Huvin, J., 13
Hutchinson, Hugh, 100
Huth, Henry, 135

INLAID Work, 93
Ironmongers Company, 148
Islippe, John, 174
Italian binding, 35

J

JACOBI, H., 15, 19, 20
Jacobus, filius Vicentii, II
Jacobus illuminator 1 1
Jal, 118

James I., 96, 164
James IV. of Scotland, 189
Jansenist Bindings, 95
Johannes de Weesalia, 1 2
John, King, 149
Jubert, J. P., 125

K

K, B., 12

Kalthoeber, 130, 132
Koburger, 9
Kunckel John, 86

Laire, 116

Lancelotti Scipione, 34

Laulne, Estienne de, 42

Lauwrin, Marc, 41, 59

La Vrilliere, 90

Lecompte, N., 16

Lefevre Pierre Leger, 131

Le Gascon, 91

Lemonnier, J. E. H., 123

Lemonnier, Pierre, ill

Leroux de Lincy, 38, 55

Lesne, 119, 168

Le Tellier, Francis-Michel, 94

Lethou, J., 15

Lewis, Charles, 130, 134

Libri Guillaume, 119, 173, 176

Limousin, Leonard, 57

Loftie, W. J., 209

Lomenie de Brienne, Comte, 115

Longepierre, 95, 112, 113

Lorenzo de Medici, 53

Lortic, 132

Louis XII., 35, 201

Louis XIII., 49, 84

Louis XIV., 93, 162

Louis XV., 119, 123, 162

Louis de la Gruthuyse, 36

Louise de Savoie, 163

Louvet, Jehan, 49

Louvois, Marquis de, 94

Luker, 210

Lumley, Lord, 76, 97

Lyons bindings, 47

L., I., 13
L., R., 19

Labarte, Jules, 1 73,
La Caille Jean de, 86
Lacroix, Paul, 173

M

MACE, Robert, 13, 44
Machlinia, W. de, 15
Mackinlay, John, 134

INDEX.

301

Magnus, 94
Maioli, Michelo, 32
Maioli, Tommaso,32
Mansfelt, Peter Ernest, 60
Mansfelt, Charles, 60
Marbled Paper, 86, 94
Margaret, Tudor, 189
Marguerite d'Angouleme, 59
Marguerite de Valois, 63, 78
Marius, Michel, 46, 79, 124
Mary, Queen, 72, 185
Mary, Queen of Scots, 150
Matthew of Paris, 146
Maurepas, 95
Mazarin Cardinal, 114
McCarthy, Count, 129
Mearne, Samuel, 109
Medici, The, 34
Menars, Charron de, 83
Mery de Vic, 37
Metal, use of in bound books,

169

Modern binding, 131
Montmorency Anne de, 60
Mornay, 90
Mosaics, 28
Moseley, D., 130
Moulin, J., 13

N

N., H., 19

Needlework, 148

Nigel, 177

Nichols, 187, 193

Nicholas, Sir H. M., 182, 188

Niedree, 132

Nodier, Charles, 80

Norins, J., 12

Norton, John, 109
Northumberland, Duke of, 130
Notary, J., 19
Notts, loo
Nowel, 17

O., R., 19

Opus Anglicanum, 144
Opus Auracum, 162
Opus Consutum, 161
Opus Pectineum, 162
Opus Plumarium, 146, 161
Opus Pulvinarium, 160
Opus Phrygium, 146, 160
Osborne, Thomas, 128
Orleans, Duke of, 182, 184
Orsini, 35
Oxford, Earl of, 100

P., G., 22
P., I., 21
P., L., 20
P., T., 22

Padeloup, A. M., in, 122, 136
Padeloup, Fran9oise, H 8
Palissy, Bernard de, 57
Parker, Archbishop, 76
Paris, Paulin, 58
Paulmy, Marquis de, 125
Payne, Roger, 128, 136
Payne, Tom, 128
Pembroke, Countess of, 164
Peter, de Agna Blanca, 145
Philippe, le Noir, 50

SMITH mm vat

302

INDEX.

Philippede, 90

Phrygian work, 141

Picardet, Huges, 82

Pichon, Baron, 121

Pigouchet, Philippe, 43

Pillone, Count Odorico, 205

Pithou, M. F., 41, 54

Plantin, Christophe, 44

Pompadour, Mme. de, 113, 123,

Pointille work, 92

Pote, 128

Prefonds, Giradet de, 1 12

Printer binders, 43

Purgold, 131

Puy, Claude du, 41

Pynson, R., 17

QUARITCH, Il6

R

R., A., 13, 20
R., G., 19, 20
R., I., 20

Regnault, Francois, 44
Reynes, J., 19, 20, 21, 22, 24
Richard, J., 13
Richard II., 147
Richard III., 149
Richelieu, Cardinal, 90
Richier, Jacques, 184
Ridolfi, Cardinal, 54
Roce, Denis, 14, 43
Rock, Dr., 145
Roflfett, Estienne, 50
Rolls, use of, 91

Rood, Th., 15
Rothelin, Abbe de, 121
Rovere, della, 35
Rubert, Emelot de, 184
Ruette, Mace, 85
Ruette, Antoine. 89, 93
Russia leather, introduction of,

129
Rychenbach, J., 8

S., N., 22

Sadlers Company, 148

Samer-au-Bois, Abbe de, 82

Scotch bindings, 99

Seguier, 90

Selle, de, 121

Sforza, 36

Siberch, J., 23

Silk bindings, 101

Simier, 131

Simon de Felbrigge, 159

Silver clasps, 196

Singleton, N., 22, 24

Skelton, 186

Soubise, Prince de, 83

Speryng, N. 20, 22, 23

Strozzi, Pietro, 53

Staggemeier, 132

Stirling, Maxwell, 207

TAYLOR, John, 143
Technical Terms, 139
Tessier, 123
Theophile, 178

INDEX.

303

Thibaron, 132

Thou, Christophe de, 41, 54, 81

Thou, Francois August de, 82

Thouvenin, 126

Tortoiseshell bindings, 101, 195

Tory, Geoffroy, 41, 44

Trautz, 131

U
URBAN VII., 34

VALENTINOIS, Duchesse de, 57
Valliere, Due de la, 112, 123
Vecellio, Cesare, 206
Velvet bindings, 101
Venetian bindings, 28
Verrue, Countesse de, 112

Villars, Balthazar de, 90

Villiers, Guillaume de, 184

Visconti, 36

Vrilliere Phelypeaux de la, 95

Vulcanius, M., n

Vyne, Stephen, 147

W

W., L., 19
Walther, 132
Weir, Richard, 129
Weir, Mrs., 129
Whittaker, John, 134
Willement, 191
William of Poitou, 144
Williams, Rev. Theodore, 135
Worde, W. de, 14, 17
Wotton, Thomas, 75, 76
Woudix, J. de, n

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